What are the functions of intonation in speech? Summary: Intonation and its components

ACCENT AND ITS TYPES

1. Word stress.

2. Syntagmatic stress.

3. Logical stress.

4. Phrase stress.

1. word stress - this is the selection of a syllable in a word using phonetic means (vocal strength, longitude of sound, pitch).

Phonetic types of stress. In the languages of the world, the allocation of the stressed syllable occurs in different ways:

2) pitch (the stressed syllable is distinguished by an increase or decrease in tone) = tone, musical( Chinese, Japanese, Swedish);

3) length of pronunciation (the stressed syllable is lengthened, but not intensified) = longitudinal, quantitative, quantitative(Modern Greek, Indonesian, Javanese).

In Russian, the stress is quantitative-dynamic (quantitative-power). This means that the stressed syllable in Russian is characterized by lengthening of the vowel, greater volume, and is pronounced with greater force.

In Russian and English, word stress has another important phonetic property: it causes a reduction (weakening) of vowels that are in an unstressed position:

five - p I am so - p I am T a choke; amusement- entertainment, fun

This phenomenon is also well represented in German and Danish, where unstressed vowels are strongly reduced, while in Spanish the reduction is very weak, and in many languages it is not observed at all (cf., for example, in Italian or Georgian).

Structural types. Emphasis is placed on the place of stress in a word free and related.Free accent - this is an unfixed stress that can fall on any syllable of a word (Russian: beetroot, sorrel, provision). Associated stress - this is a fixed stress tied to a specific syllable in a word (French - on the last syllable: blinds, protege, in Polish - on the penultimate, in Czech - on the first, in Lezgi - on the second).

In relation to the morphological structure of the word, the stress can be mobile and motionless . Movable stress is the stress that moves when changing (in different word forms) the word: water: unit im.p. water, win.p. water, plural im.p. water. motionless stress is a constant stress that does not change place when the form of a word changes: book, book, books. In English, stress is fixed: the place of stress in a word does not change, no matter what affixes are added to the stem.

The word usually has one accent, but sometimes (usually in compound words) there is a second (collateral) stress (for example, four-storey, pedagogical institute, extermination - destruction, extermination).

Each significant word has its own stress. Functional words (prepositions, conjunctions, particles, articles, etc.) are devoid of stress. These unstressed official words are called clitics, among which there are proclitics and enclitics. Proclitics are unstressed auxiliary words adjacent to stressed ones in front ( over the valleys, over the mountains). Enclitics are unstressed auxiliary words adjacent to the stressed ones from behind ( I would go, right). However, sometimes service words can "pull" the stress on themselves ( P O water, n a word, but on I am years).

Functions of word stress:

1) phonetic association of the word, ensuring the integrity and separateness of the word by highlighting its intonational center;

2) word-distinctive (stress serves to distinguish words or word forms ( castle - castle, im.p.pl. country- genus.p.s.h. country);

3) expressive (with the help of stress, stretching of the stressed vowel, an emotionally expressive coloring of the word is created: what a beautiful-and-vy).

In some languages, there is no word stress (Paleo-Asiatic - the languages of northern Asia, North America).

2. Syntagmatic stress. Syntagmatic stress is a stronger emphasis on the stressed syllable of the last word in a syntagma ( bad weather). Syntagma (speech tact) is a semantic-syntactic unit of speech formed by a group of words as part of a sentence. Troekurov's usual occupations / consisted of traveling / around his vast possessions(three syntagmas).

3. Logical stress - is the selection of one of the words of the sentence to enhance its semantic load (We today let's go on a tour).

4. Phrase stress - this is the selection of the most important speech tact (syntagma) in the semantic sense. Last night(1 syntagma), when the clock struck ten(2 syntagmas), I arrived brother (3 syntagmas).

INTONATION, ITS ELEMENTS AND FUNCTIONS

Intonation- this is a set of rhythmic-melodic components of speech: melody, intensity, duration, tempo of speech and timbre.

Elements of intonation:

1) melodic speech - the main component of intonation, raising - lowering the voice in a phrase (cf., the pronunciation of interrogative and declarative sentences);

2) rhythm speech - regular repetition of stressed and unstressed, long and short syllables. The rhythm of speech serves to organize poetic and prose texts;

3) volume speech - the strength or weakness of pronouncing an utterance (cf. the different intensity of speech at a rally and in a room);

4) pace speech - the speed of pronunciation (sounds, syllables, words), the speed of the flow of speech, the duration of the sound of speech in time (for example, by the end of the utterance, the pace of speech slows down,
segments containing secondary information are pronounced quickly, informatively significant segments are pronounced in slow motion);

5) timbre speech - the sound coloring of speech, conveying its emotionally expressive shades (for example, intonation of distrust, playful intonation, etc.).

intonation functions.

1) A means of formalizing an utterance, revealing its meaning. With the help of intonation, the speech flow is divided into semantic segments (cf. intonation of completeness and incompleteness of a sentence).

2) Distinguishes types of statements according to purposefulness (cf. intonation of motivation, question, narration, etc.).

3) Conveys syntactic relations between parts of a sentence or sentences (cf. intonation of enumeration, explanation, comparison).

4) Expresses emotional coloring (cf. exclamatory intonation, non-exclamatory).

5) Reveals the subtext of the statement (a special meaning that does not follow from the meanings of words).

6) Characterizes the speaker and the communication situation as a whole (emotionally neutral, elevated tone, mystery, secrecy, importance, intimacy).

Intonation and its components.

The concept of intonation; intonation and prosody.

intonation components.

intonation functions.

1. The concept of intonation.

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

So, we see that most researchers consider pitch change, phrasal stress, rhythm, tempo and timbre to be components of intonation. D. Jones, L.V. Shcherba, R. Lado and C. Freese 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 pitch 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 supersegmental properties of speech: pitch, duration, loudness.

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

All aspects interact and can be considered as different aspects of the same phenomenon. There is a special terminology for the prosodic units of each aspect. When considering the acoustic aspect, frequency, intensity, time are distinguished. To designate prosodic units of the perceptual aspect, the terms pitch, loudness, duration are accepted. The functional aspect has the concept of multicomponent intonation.

2. Consider the components of intonation.

Phrase stress- distinguishing a word from the background of other words. This is achieved by pronouncing stressed words with a greater expiratory impulse and muscular tension than non-stressed ones, as well as by changing the tone and increasing 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 statement (command, question, statement, request) gravitates towards the end of the phrase;

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

emphatic- connected with the emotional side of speech (we put not the mind, but emotions). Achieved through the power of volume.

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:

It plays a structural role in the formation of speech units (syntagmas, phrases, superphrasal units, lines, stanzas). The beginning and end of units of speech is usually characterized by slowing down of speech.

With the help of tempo (often slow) the most important parts of the utterance are highlighted.

Transmits emotional-modal information. Emotional speech is characterized by a deviation of the pace in the direction of acceleration or deceleration. For example, the expression of grief, fear, indifference are characterized by greater speed than the expression of sadness, contempt. Statements expressing restrained emotions tend to slow down, unrestrained - to speed up.

Rhythm(closely related to tempo) - the repetition of stressed syllables in more or less equal intervals of time. Tempo and rhythm are temporal (temporal) components of intonation. Rhythm is achieved by the fact that the accented syllables of words distinguished by meaning appear in speech at relatively equal time intervals, isolating rhythmic groups, performing, thus. the function of organizing 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 superphrasal unities, superphrasal unities in → a whole speech context.

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

Pause- acoustic zero, cessation of articulation, can be a sharp turning point in the melody. Our speech is a coherent sound stream, divided by pauses into larger or smaller segments. A pause can be made only after some group of words or one word is uttered, representing a semantic unity, and at the same time a syntactic unity, that is, united by a common meaning and syntactic connection.

The components of intonation manifest themselves in two aspects:

Communicative- intonation tells whether the statement is complete or incomplete, whether it contains a question or an answer, a request or a command; represents communicative types of statements: narrative, exclamatory, interrogative, incentive. Characteristic of the Russian intonation system.

emotional- in any intonation, a certain emotion is necessarily contained, speaker's relationship to the utterance is a modality. Intonation is always modal. Characteristic of the English intonation system.

3. Functions of intonation.

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

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 emphasizes the absence of intonation as a supersegmental 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 improve 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 may be less or more close. 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 variant, we are dealing with a sequence of two relatively independent sentences. (││) such a pause is separating. A short pause (│) reflects the close connection between the parts of a complex statement - connecting.

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

3) The function of shaping and contrasting types of statements. Melodica is used as the main means for the design of segments of speech, highlighted by pauses. It becomes possible to transmit fundamentally different information, in particular, information about the type of statement (question, message, motivation, whether the message is completed, 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 in opposition of 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. (Wait only for Mary and no one else).

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

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

For example: When did you come? – Now (calmly, dispassionately)

Now (interested)

Now (holding a conversation)

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

The founder of the functional approach to intonation is the Czech linguist F. Danes, who in his well-known article (Danes, 1960) sharply raised the question of the functional aspect of intonational phenomena and named the most important functions of intonation. Danesh considers the transformation of words (nominative units) into statements (communicative units) as the main primary function of intonation. Intonation is the most common, simplest and always present means of creating an utterance. In an isolated utterance, intonation unites its elements. In a connected segment of speech, it also separates statements from each other. Another primary function of intonation is to signal the relationship between theme and rheme. The most important of the secondary (modal) functions, according to Danesh, is to characterize the purpose of the utterance. It is joined by an additional modal function - emotional. Much of what Danesh said was heard in linguistic literature before, in particular, thoughts about the role of intonation in creating an utterance, about its participation in distinguishing communicative types of utterances, about the importance of intonation as one of the most important means of expressing emotions. Lists of intonation functions did not cease to appear even after the publication of Danesh's article. The variety of what by different authors called intonation functions, cannot but surprise. A comparison of lists that differ in the number of functions mentioned, their names, often invented by the authors, and finally, in terms of the criteria for their selection, leads to the conclusion that this diversity is explained not only by the fundamentally different theoretical positions of the authors, but also to a large extent by the vagueness of the concept of "function" . This is noted by L. K. Tseplitis, concluding the list of intonation functions he gave with the words: “These lists of intonation functions are difficult to discuss, because the concepts of “function” and “border between functions”, which underlie the allocation of functions, are introduced into theoretical systems without definition " . Ceplītis also offers his own set of intonation functions (understanding the function “use of intonational signs”): semantic (primary), syntactic and stylistic (secondary).

Let us dwell on some fundamental points related to the definition of intonation functions. Perhaps the researchers are most unanimous in singling out the function of intonation that correlates with the expression of emotions, highlighting it in order to either recognize it as the most important function of intonation (M. Schubiger, A. Krattenden), or completely exclude it from the sphere of linguistic description (T. M Nikolaeva, I. G. Torsueva). This function is usually called emotional or expressive.

The situation is more complicated with the name of the function or those functions that are opposed to the emotional one. L. R. Zinder, referring the intonation of emotions to linguistic phenomena, suggests “to consider as a single function everything that connects intonation with the meaning and syntactic structure of a sentence”, and call it, in contrast to the emotional function, a communicative function. This communicative aspect of intonation is illustrated by L. R. Zinder in his “General Phonetics” with a number of particular functions, or meanings, of intonation: “intonation is a means of dividing speech into sentences”, it “participates in distinguishing communicative types of sentences” and in expressing the actual division of a sentence , “intonation divides into syntagmas”, “intonation marks whether a given segment of speech is a final or non-final syntagma”.

According to the concept of T. M. Nikolaeva, “phrasal intonation divides the sound stream into statements and syntagmas” and at the same time “carries out a connection between isolated units, making the stream of statements (and more broadly - a communicative act) a coherent whole.” T. M. Nikolaeva considers it expedient to combine such particular functions as the implementation of actual articulation and the allocation of individual units of utterance, under “a broader category - the transfer of semantic relations in isolated units by means of intonation. At the same time, relations between smaller parts of one large unit can be transmitted (for example, between words within one statement); between these units themselves (for example, a question - an answer); finally, between small units within different large units (for example, between words from different statements). Thus, according to Nikolaeva, phrasal intonation "has three linguistic functions: the function of segmentation (through design), the function of communication, and the function of conveying semantic relations." The system of intonation functions proposed in this paper is based on the following understanding of the term “language function”, formulated by L. R. Zinder: “A function of a given language means should, obviously, be considered its intended purpose for conveying the corresponding language category.”

To show how intonation works in natural language, consider its values:

1) intonation is a means of dividing speech into sentences. This is especially important in reading, which in our time, thanks to the development of radio and television, plays a huge role. This implies the importance of the connection between punctuation marks in writing and intonation.
2) intonation is involved in distinguishing communicative types of sentences, being sometimes the only means of the so-called general question (cf.: Peter is going home. Is Peter going home?).
3) the same can be said about the actual division of the sentence. So, depending on the logical emphasis on the word Peter or the word home, respectively, one or another of them will denote a new (rheme) that is reported about this (topic). Therefore, in the first case, the sentence will mean that it is Peter, and not anyone else, who is going home, and in the second, that he is going home, and not somewhere else.
4) only intonation divides into syntagmas, which is determined by the meaning and is associated with the expression of one or another member of the sentence. If, for example, in a sentence I entertained him with my brother's poems, put the boundary of the first syntagma after his word, then it will be a direct object; if you put it after the word in verse, then my brother will be a direct complement.
5) intonation marks whether a given segment of speech is a final or non-final syntagma (cf .: he returns home and he returns home when evening comes).

The examples given are enough to show the various functions of intonation that are associated with the meaning and with the syntactic structure of the sentence.

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Introduction

The theme of this essay was chosen intonation and its components. The relevance of the chosen topic is beyond doubt. Each language has its own special, characteristic melody, which differs markedly from the melodies of other languages.

Intonation is important as it affects the semantic side sound speech. Intonation sometimes only reinforces the expressed thought, and sometimes it expresses what is left unsaid in words.

The study of intonation was carried out by such scientists as N. S. Trubetskoy, A. M. Peshkovsky, L. Armstrong, I. Ward, D. Jones.

In Russian, intonation plays important role due to its strongly pronounced analytical character. It is being studied from different perspectives and by different methods.

The purpose of the abstract is to study intonation and its components.

To achieve this goal, it is necessary to solve the following tasks:

1) define intonation and study its functions

2) determine the meaning of intonation components

The object of the abstract is intonation.

The subject of the abstract is the components of intonation.

When writing the abstract, a descriptive method was used.

Abstract structure: this work consists of an introduction, two chapters, a conclusion and a list of references.

Chapter 1. The concept of intonation

1. 1 The place of intonation in the language system

If we turn to linguistic descriptions various languages and to general linguistic works, we find that information about intonation is contained in different sections of these works. When starting to learn a new language and interested in questions of intonation, the reader can find information about the intonation system of this language (if he finds any at all) either in the Phonetics section, or in the Syntax section, or both. It is quite obvious that this state of affairs is explained by the different interpretation of the concept of "intonation", the predominant attention either to the sound, material side, or to the content side. And the very possibility of different interpretations is determined by the specifics of the phenomenon - too lively, concrete and at the same time difficult to grasp in comparison with other syntactic phenomena, conditional in nature, and too directly related to meaning, unlike other phonetic means of the language.

Consideration of intonation within the framework of syntax seriously narrows its scope, reducing it to one of the means of expressing syntactic meanings (besides, it is not the main means), and is now relatively unpopular.

Consideration of intonation is much more common within the framework of the science of the sound structure of a language - phonetics. At the same time, the material side of intonation is described deeply and, one might say, professionally, using modern experimental research methods (whereas syntactic descriptions of intonation are, as a rule, approximate and subjective). However, as regards meaningful categories, their list in the phonetic approach is often taken from outside, from the area of the same syntax, from the sphere speech communication, from psychology, and then the study of intonation turns into a search for an intonational expression of categories, many of which, perhaps, are not characteristic of intonation at all. Such is the sad experience of numerous experimental studies of intonation different languages, the purpose of which was to find intonational correspondences to various types subordinate clauses, while it is quite obvious that the relationship between intonation and syntax is far from being so simple and straightforward: intonation does not participate in the expression of all syntactic categories. The problem of the linguistic status of intonation is one of the most difficult in modern linguistics. The first chapter of the monograph by T. M. Nikolaeva “Phrase intonation Slavic languages» (1977). The wide popularity of this book among linguists interested in intonation makes it possible to avoid presenting the points of view of various authors and the arguments of T. M. Nikolaeva in defense of the intonation theory she develops. The purpose of this paragraph is to draw the reader's attention to the fact that one or another decision regarding the place of intonation in a number of linguistic phenomena largely determines the ways, methods and results of studying the intonation of a given language.

Without going into terminological differences, we can single out the following main approaches to understanding intonation: syntactic, when intonation is included in the system of means of conveying syntactic relations; phonological, when intonation is presented as a system of oppositions, and its units complete the list of phonological units; phonetic, when intonation is considered as a means of formulating statements, creating their integrity, and as a means of dividing a speech stream into units that are minimal in meaning. A completely special approach takes place when intonation is recognized independent level linguistic structure, which has its own formal and semantic units. This approach is theoretically substantiated in the works of T. M. Nikolaeva (1974, 1977).

This study originated in line with phonetic analysis sound structure of the Russian language. However, this phonetics is Shcherbov's, which has always been characterized by the closest connection between the sound and semantic sides of the language. Therefore, intonation is understood in this work as a set of prosodic means involved in the division and organization of the speech flow in accordance with the meaning of the transmitted message, and the intonation system of the Russian language is described taking into account the language functions and content categories of intonation.

1.2 Intonation functions

The founder of the functional approach to intonation is the Czech linguist F. Danes, who in his well-known article (Danes, 1960) sharply raised the question of the functional aspect of intonational phenomena and named the most important functions of intonation. Danesh considers the transformation of words (nominative units) into statements (communicative units) as the main primary function of intonation. Intonation is the most common, simplest and always present means of creating an utterance. In an isolated utterance, intonation unites its elements. In a connected segment of speech, it also separates statements from each other. Another primary function of intonation is to signal the relationship between theme and rheme. The most important of the secondary (modal) functions, according to Danesh, is to characterize the purpose of the utterance. It is joined by an additional modal function - emotional. Much of what Danesh said was heard in linguistic literature before, in particular, thoughts about the role of intonation in creating an utterance, about its participation in distinguishing communicative types of utterances, about the importance of intonation as one of the most important means of expressing emotions. Lists of intonation functions did not cease to appear even after the publication of Danesh's article. The diversity of what various authors call the functions of intonation cannot but surprise. A comparison of lists that differ in the number of functions mentioned, their names, often invented by the authors, and finally, in terms of the criteria for their selection, leads to the conclusion that this diversity is explained not only by the fundamentally different theoretical positions of the authors, but also to a large extent by the vagueness of the concept of "function" . This is noted by L. K. Tseplitis, concluding the list of intonation functions he gave with the words: “These lists of intonation functions are difficult to discuss, because the concepts of “function” and “border between functions”, which underlie the allocation of functions, are introduced into theoretical systems without definition " . Ceplītis also offers his own set of intonation functions (understanding the function “use of intonational signs”): semantic (primary), syntactic and stylistic (secondary).

In order to show how intonation functions in natural language, consider its meanings:

1) intonation is a means of dividing speech into sentences. This is especially important in reading, which in our time, thanks to the development of radio and television, plays a huge role. This implies the importance of the connection between punctuation marks in writing and intonation.

2) intonation is involved in distinguishing communicative types of sentences, being sometimes the only means of the so-called general question (cf.: Peter is going home. Is Peter going home?).

3) the same can be said about the actual division of the sentence. So, depending on the logical emphasis on the word Peter or the word home, respectively, one or another of them will denote a new (rheme) that is reported about this (topic). Therefore, in the first case, the sentence will mean that it is Peter, and not anyone else, who is going home, and in the second, that he is going home, and not somewhere else.

4) only intonation divides into syntagmas, which is determined by the meaning and is associated with the expression of one or another member of the sentence. If, for example, in a sentence I entertained him with my brother's poems, put the boundary of the first syntagma after his word, then it will be a direct object; if you put it after the word in verse, then my brother will be a direct complement.

5) intonation marks whether a given segment of speech is a final or non-final syntagma (cf .: he returns home and he returns home when evening comes).

The examples given are enough to show the various functions of intonation that are associated with the meaning and with the syntactic structure of the sentence.

Chapter 2. Components of intonation

2.1 Melodika

The most important component of intonation is melody, that is, the movement of the main tone of the voice (rising and falling). In this case, one should distinguish between the range, that is, the minimum and maximum values of the fundamental frequency within the studied segment of speech. The rate of increase or decrease in frequency can also be significant.

Melodika can perform different functions. Along with a pause, it serves as a means of articulating speech. The boundary between two syntagmas can be marked by a break in the melodic pattern: a transition from a rise in tone to a fall, from a fall to a rise, from a high end to a low beginning, etc.

The melody serves not so much for dividing the streams of speech, but for linking its individual parts. So, for example, a slight increase in tone or a slight decrease in it by the end of a segment of speech in Russian will take place when it represents an unfinished thought, when the next segment is in close semantics - syntactic connection with this segment. On the contrary, a significant decrease in tone at the end of the segment indicates that it is either an independent semantic and syntactic unit, or ends some difficult sentence. The drop in tone towards the end of the segment, giving a slightly different melodic pattern than at the end of the sentence, is used in Russian speech to indicate that the given segment is followed by an enumeration.

Melody, more than other components of intonation, further serves to express the communicative type of sentence - narrative, interrogative, affirmative. On the melody, you can show the principle of replacement by comparing a Russian interrogative sentence with an interrogative word and without an interrogative word, for example: who is this? and is that you? In the first case, the question is expressed by the pronoun who and the melody can be no different from the narrative; in the second, the interrogative word is, as it were, replaced by the corresponding melody - an increase in tone on the second word; the absence of such a rise would characterize this sentence as narrative. Along with this, a specific interrogative melody is also observed when there is another means of expressing the question, for example, a particle (do you see it?) Or a special word order (have you read this?).

Very often, melody, along with other means, is used to highlight the main word in a sentence or syntagma.

When analyzing melodics, one should bear in mind the fact that different vowels have their own height specific to them: the front vowels are higher than the back vowels.

2.2 Intensity

Consideration of intensity as a separate component of intonation, and even more so detailed description This parameter of sounding speech is relatively rare in intonation studies. Meanwhile, the intensity is the same necessary condition articulation and perception of sound, such as duration and frequency, and a sufficiently large range of variation of this parameter in speech allows us to expect its use to convey a variety of information. The reason for the low popularity of intensity in comparison with other prosodic features lies not only in its low research, but also in the fact that the partially dynamic component of intonation is considered in the analysis of stress or accent. The close relationship between intensity and stress is explained by the fact that the main function of intensity is emphasis individual elements speech chain. Usually this highlighting is carried out by increasing the intensity, but since the prosodic characteristics are always relative, a decrease in the strength of the sound is not excluded (for example, a whisper against the background of ordinary speech can be just as bright and means of expression like screaming). Highlighting, or underlining, one of the syllables of a word is called stress. This term also refers to the selection of elements in the composition of the phrase.

The articulatory correlate of intensity is the degree of pronunciation effort, determined by the magnitude of the subglottic pressure, the activity of the respiratory muscles, and the tension of the peripheral pronunciation organs. Acoustically, the intensity of the sound of speech is determined by the amplitude of the oscillation and is measured as sound energy passing through an area of 1 sq. cm perpendicular to the direction of oscillation. Intensity range speech sounds is extremely large, therefore, relative units are used to characterize the intensity, showing how many times the intensity of a given sound exceeds a certain conditional zero level. The threshold of audibility of sound at a frequency of 1000 Hz is usually taken as a reference point. The intensity of such a sound is taken as 0 decibel (dB). The intensity range from the sensation threshold to the upper, pain threshold is approximately 130 dB. In normal speech, the intensity ranges from approximately 40 to 80 dB. Within these limits, a person is able to hear differences in intensity of the order of 1 dB (according to various sources, the value of the differential intensity threshold ranges from 0.5 to 5 dB and depends on the initial intensity level).

An important factor determining the absolute value of the intensity of a vowel is its quality. It has been established that low vowels have a greater intensity than high vowels. The difference in intensity can reach up to 6-7 dB, which is quite significant, given the overall range of intensity changes in speech. Based on the material of the Russian language, data on the "different power" of vowels were obtained by L.P. Blokhina (1971). Data on intrinsic vowel intensity are also available for other languages: for example, for English (Lehiste and Peterson, 1959, 1961).

Non-prosodic factors include, in addition to those mentioned, the individual average intensity of the speaker's speech (an analogy with the individual voice pitch and individual speech rate is obvious here) and the general level of speech due to the situation of communication (cf. a report in front of a large audience and a friendly conversation of two persons).

Stressed or unstressed vowels, as a rule, significantly affect their intensity, although the latter is rarely the only component of stress. Since other factors also affect the absolute intensity of a vowel, and since stress can also be provided by other phonetic means (duration, height, timbre features), a stressed vowel is not necessarily more intense than an unstressed one, however, taking into account non-prosodic factors allows us to see the role of intensity in expressing different degrees of emphasis of elements statements. When taking into account non-prosodic factors, it turns out that the intensity of a given element is the greater, the more it stands out against the background of others. There is evidence of a significant increase in intensity with excretory, contrast and emphatic stress in various languages.

Information about the change in intensity in emotional speech is rather scarce, but its main tendencies are quite obvious and easily predictable. The intensity increases with an increase in the overall emotional stress. Positive and active emotions are usually characterized by an increase, while negative and passive emotions are usually characterized by a decrease. general level intensity. High level loudness distinguishes exclamatory and incentive sentences (among the latter - especially orders, commands). For emphatic selection, a sharp increase is used, and occasionally a sharp decrease in intensity contrasting with the background.

2.3 Duration

intonation phonetic melody timbre

Duration as a component of intonation means the speed of pronouncing certain segments of speech, which is the content of the term "tempo". The rate of speech is one of the individual characteristics of the speaker. At the same time, different tempo is determined by the style of pronunciation, which, in turn, is determined by the situation. Lecture naturally requires a slower pace than telling a story in a friendly conversation, and the pace of a lecture will be different in an audience of 500 listeners or 20. There is evidence that the pace of speech changes over time, that in the twentieth century they speak faster than they spoke in the nineteenth century.

When they talk about tempo as a component of intonation, they mean not this, but the relative speed of pronunciation individual words in a syntagma or one syntagma in relation to another. As shown by some experimental - phonetic studies, the tempo of pronunciation is associated with the content of the utterance, with the function of the corresponding words. So, service words are pronounced, as a rule, faster than significant ones, and among the significant ones, words that are important in meaning and function in the sentence stand out with a slowdown in tempo. Along with this slowing down of the tempo can characterize the completion of the utterance.

2.4 Pause

The pause occupies among the components of intonation special place. Being a functionally supersegmental phenomenon, physically it is a special, "empty" segment. Most often, a pause is defined as a break in sound or the cessation of phonation for a certain (usually quite long) time. Then the acoustic correlate of the pause is a drop in intensity to zero, and the physiological one is a stop in the pronunciation work of the organs, bringing them to a state of rest. However, a pause physical phenomenon does not coincide with what is usually understood as a pause in phonetic studies. On the one hand, not every break in sound is a pause. The complete cessation of phonations also takes place in the phase of deaf consonant closure, being their integral part. On the other hand, a perceived pause does not necessarily represent a complete break in sound: it can be filled (neutral vowel, combinations of sounds). Sharp changes in other components of intonation (changes in melody, contrast in duration and intensity) can also be perceived as a break in speech. All this makes it very difficult to determine a pause as a functional phenomenon from an acoustic signal, and especially the task of automatically highlighting pauses when dividing a speech stream into minimal intonational units. The complexity of the relationship between a break in sound and a semantically loaded pause encourages followers to divide the pauses observed in connected speech into temporal, characterized by a segment of zero intensity, and non-temporal, logical and psychological. The most important is the delimitation of intonation pauses from non-intonation ones.

The semantic load of intonational pauses is very significant. They are a universal means of dividing speech into intonation-semantic units (phrases and syntagmas). The very presence of breaks in certain places of the speech flow and their absence in others indicate a different semantic connection between adjacent words. A pause between words breaks or significantly weakens the connection between them. Within semantic unity, a pause is undesirable, and if one occurs, then it is perceived not as a planned intonation pause, but as a hesitation pause, reflecting the process of search and restructuring in the course of speech production. It is in places of weak semantic connection in well-organized speech that a breath can be taken (although not every pause is used for a breath). Through existence different types pauses (depending on their length and combination with other intonational means), it becomes possible to express a different nature of the connection between intonation-semantic units. At the same time, intonational means are used mainly to express the degree of connection (weak, medium, close), but in combination with the lexical and grammatical structure of the statement, the qualitative nature of the connection is also specified, so that it is possible to talk about expression by intonational means, and among them, not least and pause, meanings of opposition, juxtaposition, important and non-essential appearance. The semantic load of the so-called "psychological" pauses is also obvious, which are characteristic of especially expressive and emotional speech, for example, when a word is emphasized by placing a pause before or after it.

2.5 Timbre

Timbre assignment, i.e. the quality of sound, determined by the ratio of its spectral components, to the number of intonation components is often objectionable. Being one of the main features of sound, timbre, or spectrum, serves mainly the segmental aspect of speech. Most researchers dispense with any analysis of spectral characteristics and limit themselves to the most general remarks about the meaning of timbre for emotionally colored speech, citing the lack of development of this issue. Nevertheless, there is an area of study of sounding speech, in which timbre coloration is given exclusively great importance. These are studies on stage and public speech mainly in the second half of the 19th - early 20th centuries, which, as a rule, are not taken into account in modern linguistics. This can be explained by the fact that for emotionally neutral speech, which until now has been the subject of pilot study timbre coloration is not decisive. Differences in timbre do not participate in the transfer of the main communicative functions of intonation and appear only when expressing individual specific emotions (contempt, anger, ridicule, etc.) and, especially, in general emotional coloring speech, the assignment of which to the linguistic functions of intonation is far from indisputable.

Zeplis leads indicative list super-segment timbres, described through an indication of the activated parts speech apparatus(temporary dominants of the timbre): hyperlabialized, characteristic for the expression of tenderness; delabialized (anger, anger); anterior oral (irony, joke); laryngeal (pain, suffering) and others. Krivnova, in an article devoted to the consideration of the phonetic possibilities of the larynx, analyzes, along with tonal (melodic) characteristics, phonation characteristics that determine the type and quality of the voice. The latter are, in her opinion, typical means of expressing emotions in all languages. Based on a small experiment-observation of pronunciation quality adjectives with the meaning of a person's emotional assessment - the author of this article characterizes some expressive prosodemes, noting, in particular, that “positive emotions are usually associated with an increase in the register, negative ones with a decrease; high degree positive emotion (love) is realized in a high aspirated voice, a high degree of negative emotion (hatred) is realized in a low, noisy, trembling voice; for the "solemn" feeling is characterized by a low rising trembling voice, grief is symbolized by a descending soft voice.

Thus, the study of emotional speech provides rich material for describing and classifying timbres and the meanings expressed by them, and the close connection of timbre features with such undoubtedly intonational means as melody (register, range, direction, rate of change in the fundamental tone frequency), duration, intensity, pause, confirm the legitimacy of classifying timbre as a component of intonation.

Conclusion

So, from the foregoing, it follows that intonation is a rather complex, multifaceted and extremely important phenomenon in the general context. speech activity person. It is intonation that actually organizes oral speech in general, 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 being described (irony, respect, pride, tenderness etc.).

All elements of intonation act together, in concert, supporting and strengthening each other. The excitement of speech requires not only an increase in tone, but also at the same time an acceleration or slowdown in tempo and rhythm, lengthening of pauses and saturating them with psychological content. The narrative of the story determines calm intonations with slight deviations from the average tone, a measured tempo and accents of medium strength. Simultaneously with the increase in stress, we can observe an increase in tone. Wanting to put a logical stress, we can, without intensifying our voice and exhalation, make pauses before and after the stressed word. Rising and falling pitch can coincide with phrasal or logical stress, but this does not have to match. The melody of speech is formed independently of the logical stress. The logical stress highlights the right word, while the timbre responds to the psychological task, coloring this word with a feeling of approval, admiration, disappointment, etc.

The skillful use by the reader of intonation and all its components will make the speech more beautiful, figurative and, most importantly, more accessible.

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, B.A. The art of expressive reading: Book. for the teacher. - M.: Enlightenment, 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'm talking, we're talking”, M, Enlightenment, 1989

6. Georgieva, M., Popova, M. Russian phonetics and intonation. - M .: "Higher School", 1974.

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

8. Zlatoustova, L.V. The phonetic structure of a word in the flow of speech. Kazan. 1962.

9. Kubasova O.V. Expressive reading: A guide for students. avg. ped. textbook establishments. - M.: Publishing center "Academy", 1997. - 144 p.

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

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Intonation functions

Intonation 1) ensures the phonetic integrity of the phrase or its part; 2) serves to divide a text or statement into meaningful and phonetically formed segments; 3) conveys the most important communicative meanings: narration, question, motivation, etc.; 4) indicates certain semantic and grammatical relations between the units that form the statement, and between the statements themselves; 5) conveys the attitude of the speaker to the content of his statement or the statement of the interlocutor; 6) conveys information about the emotional state of the speaker [Bondarko 1998. p. 230].

The richness of the expressive and structural-grammatical possibilities of intonation has been repeatedly noted by researchers. For example, the following types of intonations were distinguished: interrogative, exclamatory, vocative, persuasive, pleading, inviting, comparative, enumerative, affirmative, threatening, intonation of amazement, resentment, indifference, polite request, surprise, warning, etc. Undoubtedly, the list of intonations can be significantly expand, but this will only raise doubts about the objectivity of their existence and the possibility, based on phonetic criteria, to distinguish one from the other. It is clear that when describing intonational types, only those that have clearly defined characteristics should be taken into account.

The most important link in the description of the theory of intonation is syntagma.

The concept of syntagma

The simplest observations sounding speech show that the speech stream consists of separate segments - words, groups of words, parts of a sentence and the sentences themselves, for example: This evening / Kazbich was gloomier, / than ever, / and I noticed, / what is under his beshmet / is wearing chain mail //(M. Lermontov). (by signs / pauses are marked // - the end of the phrase.) There are meaningful combinations of words that have certain syntactic functions. Intonation-semantic unities that arise in the process of speech and are constituent parts phrases are called syntagmas. The concept of syntagma was introduced into Russian linguistics by L. V. Shcherboy, who defined syntagma as "a phonetic unity that expresses a single semantic whole in the process of speech-thought." It is important here to point out that syntagmas are semantic wholes that arise "in the process of speech-thought." Shcherba saw in syntagmas such semantic unities that are created in a given speech situation. In syntagmatic articulation, therefore, the speaker's comprehension of a given situation finds its expression. Therefore, it can convey various semantic nuances. Compare: 1. See you tomorrow evening and 2. See you tomorrow, / in the evening. In the second case, the time of the meeting is emphasized, and in the evening becomes a clarifying member of the sentence, while in the first case, the time of the meeting is conceived undividedly as the evening of tomorrow.

Syntagma has semantic, syntactic and intonational integrity.

V semantic syntagma is segment of a meaningfully dissected phrase. Two cases can be noted here. Firstly, each syntagma is a semantic whole, for example: Yesterday evening / father and mother / were at the theater / /. Here each syntagma acts as an independent semantic unit. Secondly, in a phrase there may be syntagms that do not constitute a semantic unity, for example: For the team of the faculty were / Kolya,/ Petya/ and Vasya//. Here, one-word syntagmas are self-sufficient in terms of meaning. Kolya and Peter; certainly not independent due to the presence of the conjunction syntagma and Vasya; rather, the first syntagma is non-independent. However, the meaningfulness of division in both cases is beyond doubt.

The semantic specificity of the syntagma is determined by the functional orientation of speech. Speech has as its function the transfer of some content, meaning, so the division of speech into syntagmas should contribute to the implementation of this function.

V syntactic syntagma is a segment of a syntactically correctly divided phrase. Syntagma can be a whole phrase ( It's been raining since morning), be a simple member of the sentence ( Kolya; Peter) or common ( were in the theater - predicate group), or not correlate with syntactic constructions(Per faculty team were). However, it is clear that syntactic meaningfulness also corresponds to the semantic meaningfulness of articulation.

The syntactic structure of sentences in many cases predetermines syntagmatic boundaries, which seem to be forced. Here are a few typical examples: a) compound sentence: Lightning flashed, / and immediately the thunder rumbled / /; I ran, / but he stayed//; b) complex sentence: I will come, / because he promised//; If you want, / let's go out of town, / when the rain stops//; v) homogeneous members suggestions: Trams moved through the streets,/ trolleybuses / and buses//; G) separate members suggestions: He fell, / dropped the package from his hands//; Tall tree,/ noticeable from afar, / served as a guide for us//; e) appeal: Mum, / where is my briefcase?//

What are the functions of intonation in speech? Summary: Intonation and its components

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