The concept of intonation. elements of intonation. Elements of intonation

29.09.2019

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abstract

natopic: "Intonation andits components»

Introduction

Main part

1general characteristics Russian intonation

2Stress as a component of intonation

2.1 Logical stress

2.2 Emphatic stress

3 Melodica as a component of intonation

4 Themes of speech as a component of intonation

4.1 Communicative significance of speech rate

4.2 "Absolute" speed

4.3 "Relative" speed

5 Timbre as a component of intonation

6 The strength of sound and its place in the structure of intonation

7 Pause as a component of intonation

7 .1 Logic pauses

7 .2 Artistic pauses

Conclusion

Introduction

Intonation is a very complex and far from established concept in linguistics. Usually, intonation is understood as a set of means of organizing a sounding, oral speech. These funds include:

1. accent;

3. pauses (breaks in sound);

4. the strength of the sound of individual words in speech;

5. rate of speech;

6. timbre of speech.

Elements of intonation really exist only in unity, although for scientific purposes they can be considered separately. Intonation is inherently supersegmental. It seems to be built on top of the linear structure of speech. True, as V.N. Vsevolodsky - Gerngross, when the content of the statement contained in the words is inaccessible to perception, one can observe, as it were, intonation "in its purest form." Firstly, this takes place during the perception of speech in a foreign, incomprehensible language for the listener; secondly, when listening in difficult conditions (for example, through a wall), when it is impossible to make out words. In both cases, only intonation is captured.

Intonation is a mandatory feature of oral, sounding speech. Speech without intonation is impossible. The richness and content of speech, its expressive possibilities are provided not only by the richness of the dictionary and the mastery of verbal expression, but also by its intonational flexibility, expressiveness and diversity.

Intonation occupies an important place in the structure of the language and performs various functions:

With the help of intonation, speech is divided into intonation-semantic segments (syntagmas)

intonation forms various syntactic constructions and types of sentences

intonation is involved in the expression of thoughts, feelings and will of a person

The richness of the expressive possibilities of intonation is undeniable; it has been repeatedly noted by researchers. For example, V.N. Vsevolodsky-Gerngross has 16 intonations in Russian speech:

The selection of a particular word can also be carried out by a relative change in the tempo of speech. If ordinary calm speaking is characterized by some average tempo, then against this background, the transfer of semantic and emotional nuances may be associated with the acceleration and deceleration of the tempo.

Slowing down the pace, as a rule, gives individual words or whole phrases greater weight, significance, sometimes even pathetic solemnity. Against the background of careless fluent speech, slowing down is used as a strong expressive tool.

A fast pace usually characterizes an emotionally excited speech. It is also natural in a dynamic story about events that follow one another quickly.

Frequent pauses are characteristic of excited speech. Changing the volume from a heart-rending scream to a gentle whisper also conveys shades of feeling.

Finally, a very significant role belongs to the timbre of speech. Just as a separate sound has its own timbre, speech also has its own color - timbre. Timbre as an element of intonation has not yet been studied at all, but there is no doubt that different timbre colors are characteristic of certain varieties of emotional speech.

So, let's take a closer look at the properties of intonation and the multidimensional nature of each of its components.

1 General characteristics of Russian intonation

The most ephemeral component of oral speech is intonation. In writing, it is transmitted conditionally. Yes, there are questions and exclamation points, commas and dots. But we will never know how Russian speech sounded in distant epochs, before the advent of sound recording devices. Perhaps, loudly and emphatically emotionally, as is customary today in the South of Russia, or perhaps, as in the North, somewhere in the Arkhangelsk region - in detail, with long pauses, but without raising your voice?

In a stricter sense andintonation is a linguistic term with two meanings. In a more precise sense, intonation is understood as a system of changes in the relative pitch in a syllable, word, and whole utterance (phrase).

One of the most important functions of the intonation of the whole phrase is the determination of the completeness or incompleteness of the statement; namely, the completeness of intonation separates phrase, a complete expression of thought from part of a sentence, from a group of words. Wed I. the first two words in the phrases: “Where are you going?” and "Where are you going?" Of course, the carrier of this intonation can be a single word and even a single syllable. Wed "Yes?" -- "Yes".

Other no less important function intonation of the whole phrase is the definition of the modality of the statement - the distinction between narration, question and exclamation. These types of intonation are basic in all languages of the world.

1. narrative or indicative intonation is characterized by a marked drop in tone of the last syllable, preceded by a slight rise in tone on one of the preceding syllables. The highest tone is called intonation peak, the lowest -- intonation drop. In a simple, uncomplicated narrative phrase, there is usually one intonational peak and one intonational decline. Where narrative intonation combines a more complex set of words or phrases, individual parts of the latter may be characterized by either an increase or a partial decrease in intonation (a decrease in intonation is especially often observed in enumerations), but less low than the end of a phrase. In such cases, the narrative phrase may contain either several peaks and one final fall, or several falls less low than the final.

2. Interrogative intonation is of two main types: a) in cases where the question concerns the entire utterance, there is an increase in tone on the last syllable of the interrogative phrase, stronger than the increase in voice noted above in the narrative phrase (the latter, being cut off at a rise, creates the impression of an incomplete statement , which is not present after an increase in interrogative intonation); b) interrogative intonation is characterized by a particularly high pronunciation of the word to which the question mainly refers. From the position of this 548 words at the beginning, end or middle of a phrase, of course, the rest of its intonation pattern depends.

3. In exclamatory intonations must be distinguished: a) intonation proper exclamatory, characterized by a higher pronunciation of the most important word than in the narration, but lower than in the question; b) motivational intonation with numerous gradations, from request and motivation to decisive command; the intonation of the latter is characterized by a decrease in tone, close to the narrative intonation

These types of intonation are sometimes combined by researchers into the concept of intonation. logical, i.e., intonations that determine the nature of the utterance, and are opposed to intonations emotional, i.e. intonations of affectively deformed speech.

Finally, the third, no less important function of intonation is compound and disconnection syntagmas - words and phrases - members of a complex whole. Wed for example, the intonation of the phrases: “The sleeve was stained all over with blood”, “The sleeve was stained all over with blood” and “The sleeve was all stained with blood”. However, as is clear from this example, a change in intonation, expressing a change in the syntactic form of a phrase, intimately connected here with the change rhythmic relations, in particular with the distribution of pauses.

One more point: besides, in different situations we speak differently (everyday tongue twister is one thing, and reading a report is another), the intonation of each person is individual, almost like a fingerprint. Thanks to this, and not only to the timbre, we instantly recognize the voice of a friend who called us in the handset.

Does linguistics give an answer to the question of how an individual intonation is formed? Here are the explanations of Maxim Krongauz, director of the Institute of Linguistics of the Russian State Humanitarian University: “In general, intonation may be the most mysterious area of phonetics. Research into intonation is just beginning. Therefore, here, rather, we can make some assumptions. There are various phonetic characteristics of what really forms the sound image of the interlocutor, in particular, maybe we are not very pleasant during a conversation, or maybe, on the contrary, immediately dispose. Possession of this apparatus - almost always intuitive - greatly helps a person in communication.

Along with the process, which can be conditionally called the "individualization" of intonation, there is a reverse process - the "socialization" of intonation. It is quite appropriate to talk about a kind of fashion for one or another intonation, depending on the era.

Maxim Krongauz believes that a fashion for a separate intonation arises from time to time, although it is more difficult to fix it than a fashion for individual words and expressions: “Just because there are dictionaries for words where we can describe a new meaning, but for intonation there are only science articles. But, of course, recently we can see this fashion more often than before. Many borrowed intonation contours appeared, which are unusual for the Russian language - the end of the phrase with high intonation, although usually in Russian, on the contrary, there is a decrease. The end of a phrase is marked by a decrease in intonation.

For example, if a journalist finishes a report from the scene and turns to the host in the studio, he speaks with something like this intonation: “Tatiana?” (accent on the last syllable).

Maxim Krongauz explains: “This is just a completely standard interrogative intonation. It's a link check: "I'm done, and I'm marking the link." This, of course, is also new for Russian communication, but it is, let's say, professional. Namely, the imitation of the speech of English-speaking announcers and presenters with an increase in intonation at the end of the phrase ... I can name some of the presenters who set the fashion, in particular, the intonation of Leonid Parfyonov has certainly become fashionable. Some young MCs just copy her.”

Maxim Krongauz talks about the change in intonation over time, over the years, over the centuries: “Intonation changes, but even the vocabulary we cannot always clearly fix in time. But there was actually no recording of intonation, recordings of oral speech also arose in the 20th century. Therefore, based on general considerations, we can say that - yes, the intonation changes. It changes very slowly, it's a conservative thing." At the same time, Maxim Krongauz emphasizes, there are areas in which short period there have been significant changes - this is theater, television and radio.

Why don’t you now hear such precise phrasing, such expressive pauses, like Levitan’s? Here is a subtle observation by Anna Petrova, teacher of stage speech, doctor of art history, professor: “It seems to me that in every era a person is realized in sound according to his time. The manner of speech very quickly becomes a cliche, acquires the character of a habitual and insufficiently lively and sincere sound. And then the search for another expression of the way of thinking, the way of feeling, the way of one's time begins.

The Soviet era is gone, and with it the sovereign intonations. The speech of journalists (the announcers have disappeared) has approached colloquial speech and has become more democratic. But everything is good in moderation. Anna Petrova considers the rollickingness so widespread now as a manifestation of disrespect for the listener: “The influence of the mass media is immeasurable and, in general, almost invincible. Specially poorly spoken Russian! Because they reflect, as it were, the lower layer of being: how they live monstrously, they say so. A few words and that's it, and the rest is just squealing. It seems to me that this is a completely terrible layer of influence on people. It is very dangerous because it is contagious. Because everyone can do it. The lower we go down the level of culture, the level of human capabilities, human realization, the easier it is. To be honest, I feel offended for Russian culture.”

But along with negative phenomena in speech intonation (especially oral), there are also undoubted positive shifts that have recently taken place in the direction of studying this rhythmic-phonetic phenomenon. Perhaps it is precisely because of the decadent phenomena that have prevailed in the sphere of intonation of Russian speech in recent decades that Russian scientists, philologists, psychologists, psycholinguists, seriously concerned about the influence of the low layers of the Western speech subculture on the centuries-old traditions of Russian intonation, have finally begun to comprehensively study this multifaceted and extremely complex phenomenon, which was previously unjustifiably relegated to the gates of the traditional sciences of speech. AT last years there has been a significant number of works scientific articles, publications devoted to the problems of intonation of speech, components of intonation, identification of its functional nature. Specialized forums are open on the Internet, where philologists and people who are simply interested in the phenomenon of language intonation can not only get scientific information about this component of expressive speech, but also take part in the discussion interesting questions functioning of intonation in everyday speech and its semantic-phonetic properties (for example, [email protected] ).

It should be noted that intonation acquires special significance in artistic prose and especially poetic speech. The peculiarity of poetic intonation, in comparison with prose intonations, is primarily that it has a regulated character, decreasing towards the end of each verse segment (line) and being reinforced by a final verse pause . At the same time, the decrease in intonation is already determined by the rhythm of the verse, and not by the meaning of the sentences contained in it (often coinciding with it), due to which it decreases regardless of the conditions necessary for this in prose. Against the background of this equalized intonation, which intensifies the rhythmic movement of the verse, the possibility of varying different degrees of intonation (depending on the final verse and strophic pauses, clauses, etc.) is created. Such is eg. the intonation is monotonous, ending with a sharp stop at Mandelstam:

“I will not see the famous Phaedra In the old multi-tiered theater From the sooty high gallery By the light of sagging candles,” etc.

Violation of the usual intonational monotony in verse is enjambement, possible only against the background of a regulated intonation. Thus intonation is 549 one of the essential means of expression verse and is used depending on the given literary style, which determines the nature of its verse system and its intonational structure. Thus, the sing-song intonation of the Symbolists differs sharply from the oratorical intonation of Mayakovsky, the spoken intonation of Selvinsky, etc.

In more broad sense the term intonation is used for a general designation melodic-rhythmic-power means of speech expression.

Thus, all the complexity and multidimensionality of such a phenomenon as intonation becomes obvious, which must be considered in the totality of its inherent properties and in the dialectical unity of possible approaches.

2 Stress as a component of intonation

Among the components of intonation, stress occupies a special place. It, like intonation itself, belongs to the supersegmental elements of the language. When they talk about stress, they usually mean verbal stress (i.e., highlighting one of the syllables, words, with the help of phonetic means). However, verbal stress is not the only type of stress in Russian. There is also syntagmatic stress, or syntagma stress - the smallest intonation-semantic segment of speech (for example: today ve black / I won't be before ma). Syntagmatic stress is also called tact stress, which usually means the emphasis in the pronunciation of a word more important in meaning within speech ta kta (synth hmm ). For example: Mind Russiadon't understand , Common arshindo not measure : She hasspecial to become - In Russia you can onlybelieve . Along with syntagmatic stress, logical stress is also highlighted, with the help of which the most important word in a given phrase is highlighted (for example: give me posice nie magazine numbers). Another type of stress is also often found - emphatic stress. This stress emphasizes the emotionally expressive and affective elements of the utterance. These types of stress, as opposed to verbal stress, may be called types of non-verbal stress. It is non-verbal stress that acts as one of the components of intonation.

2.1 logical stress

Logical stress is the selection of the most significant word from the point of view of a given situation with the help of intonational means. Any word in a phrase can be highlighted with logical stress.

Phrase Student carefully reads this book can be pronounced with a logical stress on each word, and each utterance will convey a certain shade of meaning:

1) Student carefully reads this book (it is the student, and not someone else);

2) Student carefully reads this book (attentively, not in fits and starts);

3) Student carefully is reading this book (reading, not leafing through);

4) The student reads carefully this a book (this one, and not some other);

5) The student carefully reads this book (a book, not a newspaper).

Functional words can also be logically emphasized: The book lies under the table (and not on the table).

It is quite natural that the most new, essential, important for a given speech situation should receive a particularly vivid external expression. The logical stress, or, as it is also called, the stress of the new, just performs this excretory function. It appears in certain cases - in opposition and in the presence of special highlighting words. The logical stress can be contained in the question and in the answer to it.

When opposing, either both opposing phenomena can be called (We will go there head tra, / not today), or just one. In the latter case, the opposition is, as it were, hidden, since the unnamed is only implied: We will go there tomorrow (it is understood: precisely tomorrow, and not on some other day).

The appearance of logical stress can be caused by words of special semantics - excretory. They are represented by two groups.

The highlight words of the first group themselves carry a logical stress. This is the pronoun myself. The phrase "He himself will come" allows placing a logical stress only on this word. Adverbs have the same properties completely, completely, too, still. For example:

He is an owl sem (over shen but) knows nothing;

He then also participated in the play;

give me e more .

The highlight words of the second group do not carry logical stress themselves. However, those words with which they are connected in meaning receive a logical stress. Emphasizing words of the second group include amplifying particles (even, and, already, after all, neither), restrictive particles (precisely, only, only), some combinations with particles (and yes, not yet, just). For example

It is e th I wanted to see;

Even other gu can't say that;

And not the one to their he defeated opponents;

Only those be can I tell you everything;

Not yet wa sha turn;

You and uh you don't know it;

We have returned home but whose.

Logical stress is typical for interrogative sentences, which do not contain a question word, for example:

you come di to me? or did you come to to me ?

The word to which the question is posed is highlighted with logical stress. The answer to the first question will be

Yes, he came or No, he didn't come;

answer to the second question

Yes, to you or No, not to you.

A logical stress can be given to any word in response to a question, for example: Who did this? -- did it I .

Logical stress is created by the interaction of intonational means. The main role is played by the strengthening of verbal stress and specific melody. Strengthening of verbal stress occurs due to a more dynamic and intense pronunciation of the stressed syllable of the highlighted word; it also stands out for its considerable duration. As for the melody, it can be quite diverse, but basically logical stress is characterized by a decrease in tone.

2.2 emphatic stress

To characterize the emotional expressiveness of the word, Shcherba introduced the term "emphatic stress". This stress "puts forward" and enhances the emotional side of the word or expresses the affective state of the speaker in connection with a particular word. Briefly, the difference between logical and emphatic stress can be formulated as follows: logical stress draws attention to a given word, and emphatic stress makes it emotionally rich. In the first case, the intention of the speaker is manifested, and in the second, an immediate feeling is expressed.

In Russian, emphatic stress consists in a greater or lesser lengthening of the stressed vowel: the most beautiful worker, a wonderful work of art.

M.I. Matusevich in the notes to "French Phonetics" supplements Shcherbov's characterization of Russian emphatic stress: The phonetic means of emphasis do not always consist in lengthening the stressed vowel, which, apparently, depends on the nature of the emotion.

So, for example, delight, pleasure, tenderness, etc. are really expressed phonetically in the lengthening of the stressed vowel ... However, indignation, irritation, etc. often receive a phonetic expression in Russian in the lengthening of the first consonant in a word, for example: h -hell! m-bastard! etc.

L. R. Zinder, characterizing emphatic stress, writes: “As a means of emphatic stress, in addition to changing the pitch, the time factor is widely used. In Russian, for example, emphatic stress is carried out mainly by lengthening or, conversely, shortening the entire highlighted word of a particularly stressed syllable. Yes, in Yes! or He will come when emphasizing confidence, certainty, a and e are lengthened, and in the case of a categorical statement, a short pronunciation is observed, but as energetic as possible.

L.V. Zlatoustova subjected emphatic stress to experimental research. In general, it confirmed the above phonetic characteristic of emphasis. It is advisable to distinguish between "positive" emotions (delight, admiration, tenderness, tenderness, etc.), characterized by lengthening of the stressed vowel in an emphatically emphasized word, and "negative" emotions (threat, anger, etc.), characterized mainly by lengthening of the consonant at the beginning of the stressed word. syllable.

Emphatic stress, which serves to highlight a word, along with other types of non-verbal stress - syntagmatic, phrasal, logical, is one of the components of intonation. In speech, all intonational means are used to express emotions. The expressive possibilities of melody are very great in a mandatory combination with other elements of intonation.

3 Melodica as a component of intonation

The melody of speech is the movement of the voice (up and down) over sounds of different pitches. In speech practice, the melody of many syntactic structures of sentences has become fixed as a normative one. This applies to the norms of pronouncing interrogative, exclamatory, declarative sentences, as well as to the melody of enumeration, reason, purpose, opposition, separation, warning, water and others.

The term "melodica" is used in various sciences and has shades in its meaning.

1. Melodika -- llinguistic term, denoting the system of raising and lowering the voice tone in speech, as well as the department of phonetics that studies this system. The melody of any statement is thus composed a) from intonations, i.e. rises and falls of tone associated with the meaning of the statement and are melodic means of speech expressiveness, and b) from rises and falls of tone associated with the phonemic side of the language and are melodic means of word differentiation. Examples of melodic means of this type are: 1) the so-called "musical stress" of those languages that, with the help of rises and falls in tone, highlight the main syllable of a word (for example, Lithuanian, Serbian, Croatian) or differentiate lexemes (for example, Chinese); 2) an increase or decrease in tone that accompanies changes in the force of expiration in languages with the so-called "expiratory stress" (for example, in Russian), etc. The totality of all these changes 111 Tones form in each language a completely specific system of music, sometimes sharply different from the melodic systems of other languages.

2. Melodika - poetic a term that is not yet fully defined in its content. Leaving aside the sound organization of the verse (in the sense of the organization of the sounds included in it - sound repetitions, etc. phenomena), its phonics and its rhythmic organization - rhythm, - in melodics, we consider the intonation system of the verse, i.e., first of all, the system of raising and lowering the voice in a syllable, word, complete phrase and, finally, in the whole poetic work, which has one or another expressive meaning in a given style system. So, in Mayakovsky's "March" ("Beat the trampling in the square of riots!"), we are dealing with a pronounced exclamatory intonation (characterized in comparison with the narrative intonation by an increase in voice). This intonation naturally organizes the entire intonational movement of individual lines and the entire poem as a whole, creates a certain melodic system. It is clear that the whole character of the regulated intonational movement of a verse is determined by the semantic saturation that it carries in itself, and is inseparably united with its rhythm and sound (without which there can be no intonation in verse). From this it is obvious that we can understand the nature of the melody of verse only by considering it as one of the moments of the style of a certain class. The melody is inseparable from the verbal system, the verbal system from the system of images. Each literary style and even each stage in the movement of style has its own melodic system, which is what the historical and literary analysis convinces us of. It is easy to compare, for example, the intonation of the Symbolists' verse, which has a clearly melodious character and is based primarily on a repetitive narrative or interrogative intonation, with the example given from Mayakovsky.

The concept of melodic should not be confused with the concept of melody or melodiousness of a verse; the intonation system of a verse can have, for example, the most pronounced colloquial character; the melodiousness of verse is only one of the special cases of melodic organization in general (as, for example, among the symbolists).

It is with the work on the melody of reading (in conjunction with the grooves) that the formation of the expressiveness of speech in the primary grades begins. Already from the period of learning to read and write, children learn to use intonations of narrative, interrogative, enumerative, explanatory, address ... in the future, it becomes necessary to work on warning intonation, intonation of incompleteness, etc.

Research into melodics has gained particular importance in recent years, and this is no coincidence. In connection with abrupt change speech culture in society, the idea of the communication process is also being transformed. Modern man it is very important to be able to melodically build your oral statement, understand and adequately respond to someone else's speech, convincingly defend your own position, observing the speech and ethical and psychological rules of behavior.

A modern person spends 65% of his working time in oral communication. According to American scientists, the net time spent on the communication process for an average inhabitant of the Earth is 2.5 years. This means that each of us manages to “speak” about 400 volumes of 1000 pages each throughout our lives. So, we really talk a lot, but we do it most often not skillfully, badly. Approximately 50% of information is lost during transmission.

The melody of the voice is the main, most important communicative tool that affects the professional success of the individual. The essence of communication is the process of interaction between the subjects of sociocultural activity with the aim of transferring or exchanging information through the methods accepted in a given culture. sign systems, techniques and means of their use [Culturology, 1997: 185].

The core, the root cause of communication is information in various manifestations: as an information layer of an external semantic message, information about the internal subtext characterized by the melodiousness of the voice, and informativeness about the speaker. Psychologists believe that in the process of communication, the words themselves carry 10% of the information. According to Francois Suge, 38% of information comes through the melody of a person's voice. The positions of informativeness of the melody of the voice can be expressed in the characteristics of the four levels of staged perception of the communicant's information. This is information universality, aesthetic, situational and semantic levels [Romakh, 2005: 356]. All these levels of informativeness should be considered separately.

The first informative level - information universality- manifests itself in the natural melody of a person's voice, through the individual coloring of the timbre, a certain pitch, voice tonality. Here it is necessary to raise the question of how to determine the natural pitch of a person's voice? To do this, you must first say the same phrase as high as possible, without breaking your voice, then as low as possible. That tonality, which will be exactly in the middle between them, will be the height that a person uses in the process of speech. The task of each person is to improve this average voice pitch with the help of voice training to a higher range. The improvement of which is an indicator of the inner growth of a person. The natural melody of the voice characterizes personality traits: gender, age, health status, emotional condition, attitude towards the interlocutor, self-esteem.

Age features of the voice go through several stages. For childhood characterized by shrillness, a limited range in the pitch of the voice, the general melodiousness of speech is either loud or quiet. The voice of an adult is the highest stage of development. With aging, the melody of the voice undergoes some changes: the range narrows, the strength decreases, the timbre changes.

Second information level - aesthetic, characterized by the ability to control one's voice, speech. Thanks to the properties of the voice, speech acquires both ethical and aesthetic characteristics: the speaker's speech culture conveys a positive impression of the voice or some of its properties - timbre, color, strength, intonation, accentuation. What comes from common culture subjects of communication. Third information level - situational, is considered as the ability to correspond to this particular situation, using all the richness of the voice. The ability to remain natural melodic voice in any disharmonious situation. There are a lot of communicative situations in a person's life, which are characterized by various combinations of voice melody. Situations associated with solemn, significant events involve praise, compliment, table word (toast), expressed with the help of sensual, emotional, entertaining melody of the voice. The communicative situations of mother and child have a completely different character. Communication between mother and child occurs through an affectionate, calm, gentle, melodic voice, which helps to maintain the internal balance of the child.

When a person communicates with animals, for example, training a dog, a completely opposite situation of voice manifestation is required: more firm, confident, persistent, domineering. Otherwise, the animal will not be subject to training. A similar situation is manifested in the communicative situation of servicemen.

1) Professions with staged voices, in which all activities are aimed at the functioning of the voice: actors, singers, readers. The delivered voice is characterized by a number of qualities that are the result of the most rational interaction of organs and systems. speech apparatus for professional use.

2) A professional voice is a type of voice formed in the process of a person exercising his professional duties in those areas of activity that are characterized by increased speech responsibility (such as pedagogy, medicine, jurisprudence, legal, public and political activity, journalism and others). Improvement of voice qualities, development of voice skills occur directly in the course of verbal communication. The qualities of this type of voice are professionally conditioned.

3) The voices of ordinary native speakers who have nothing to do with the professions listed above. But this does not mean that the voices of this professional distinction have unpleasant overtones such as hoarseness, nasality, etc. On the contrary, sometimes the voice is endowed by nature with great modulation possibilities, it is euphonious, pleasing to the ear.

National voice differences also have a specific severity: Americans speak loudly, which characterizes their melody of voice aggressively; in turn, the English adjust the volume of their voices to speak as quietly as possible, but in doing so they unwittingly show an increased sense of pride. The melody of the voices of the Spaniards and Italians is faster than other Europeans. The melody of Russian speech unjustifiably tends to increase the length of vowel sounds, borrowed from the English.

And the fourth information level - semantic, which directly reveals the content of speech. Voice features affect the recipient's perception of the received semantic information and the qualification of the transmitted message, giving the message a certain expressive and stylistic coloring. During the dialogue, the voice serves extremely powerful tool influence, persuasion, suppression.

The meaning of a person's statement is the meaning of the melody of the voice, passed through the living human "I" and thoroughly saturated with it. Unlike the meaning, which is predetermined, the meaning cannot be known in advance. It must be guessed as information about unnamed things through named things. For the meaning is inherent only in this statement, and no other. For example, the meaning of the sentence " Tomorrow it will be pouring rain” is known to all native speakers of the Russian language and for all of them it is the same. The meaning introduced by a person into this phrase will be different each time in different communicative situations. In one case, it is a stormy joy that the long-awaited event will finally come true tomorrow. In the other, a slight disappointment due to the fact that the trip out of town scheduled for tomorrow may not take place. Thirdly, - calmness in the fact that tomorrow does not portend drastic changes in life plans. In the fourth - outright panic due to the fact that the date scheduled for tomorrow breaks down; in the fifth - a delicate refusal of an invitation to an undesirable event under a plausible pretext bad weather; in the sixth - flaunting the fact that he does not care about any "intrigues of heaven", etc. etc. The melody of the voice always expresses immeasurably more than what it means.

The strength of the psychological impact of melodics is so great that it is able to “cross out” the entire verbal text, expressing a meaning that is diametrically opposed to its meaning. The most laudatory words in terms of meaning can sound like an insulting curse, from which a person becomes uncomfortable, and the most abusive words can sound like the highest praise, from which a person feels in seventh heaven with happiness.

Successful communication, that is, the ability to present oneself in any situation, requires a set of certain properties of the voice: adaptability, euphony, endurance, flexibility, flightiness, suggestiveness, and stability of the voice [Effective communication, 2005: 430]. Let's consider each of these properties separately.

adaptability voice lies in the ability to adapt to specific acoustic conditions. For example, the size and shape of the room in which a person speaks, to the number and spatial arrangement listeners - with the help of appropriate variations of the timbre of the voice. That will provide good audibility, intelligibility and comfortable perception of speech. For good adaptability of the voice, it is necessary to form the skills of varying the volume and timbres of the voice, in using a high range, and the ability to purposefully control what is being said.

euphony voices can be achieved due to the purity of sound and the absence of unpleasant overtones. For example, hoarseness, hoarseness, nasality. The ability to make one's voice harmonious is perceived by listeners as a sign of aesthetics, good breeding, intelligence, self-demanding, which is associated with good diction, with the pronunciation of all speech sounds, with pronunciation of endings.

Endurance voice is characterized by high performance of the vocal apparatus and allows you to withstand a long speech load while maintaining all the properties of the voice. This voice quality is determined by a number of factors, such as the innate characteristics of the body, age, acoustic conditions, and a properly organized voice production is necessary.

Flight voices - the ability to be heard at a great distance with minimal effort of the speaker. With this quality, there is a feeling of lightened sound production - the voice, as it were, “flies”. Regardless of the type of voice, the volume of sound in flight, there is always a certain metallicity, a kind of “bell” is heard. High-frequency overtones in this region, called high formant, are most easily perceived by the human ear, so a voice whose timbre contains such overtones is distinguished by good audibility. Flight is one of the most important characteristics of the voice timbre. If there is no flight in the voice, then this not only impoverishes the expressive possibilities of the speaker's speech, but also indicates insufficient command of the voice.

Sustainability expressed in the constant stability of the pitch, volume and timbre of the voice, regardless of the duration of the spoken sounds of speech. By ear, voice stability is perceived as confidence, determination, calm perseverance of the speaker, this quality is a consequence of the general balance of tension and relaxation in the muscles of the vocal apparatus, their correct coordination.

Suggestiveness(from lat. suggestio - suggestion) - the ability of the voice to influence the emotions and behavior of listeners, regardless of the meaning of the spoken words. Suggestiveness as a voice quality lies in the fact that the speaker, with the help of timbre, influences listeners, captures their attention, evokes empathy and stimulates the necessary behavioral reactions.

4 Thosemp speech as a componentintonation

Pace speech (from Italian tempo, which comes from Latin tempus time) - the speed of pronouncing speech units of different sizes (most often syllables, sometimes sounds or words). The rate of speech can be calculated in two ways: by the number of syllables, or sounds, or words spoken per unit of time (for example, in 1 second), or by the average duration (longitude) of the sound of a speech unit (on a certain segment of the sound of speech). The duration of sounds is generally measured in thousandths of a second - milliseconds (ms). The rate of speech of each individual can vary widely - from 60-70 ms for fluent speech to 150-200 ms for slow speech. There is also a dependence of the tempo on the individual characteristics of the speaker.

4.1 The communicative significance of speech tempo

The normal speech rate of Russians is about 120 words per minute. One page of typewritten text, printed at one and a half intervals, should be read in two or two and a half minutes.

The pace of speech may change. It depends on the content of the statement, the emotional mood of the speaker, the life situation.

It is not difficult, for example, to determine what determines the rate of pronunciation of sentences:

-- Let's run to the forest!

--He walks slowly, his legs intertwining.

--Crawls like a turtle.

--What a long and cloudy day today!

The rate of speech in this case is determined by the content of the sentences. The first calls for a quick reaction, for quick action, so the pronunciation speeds up. The second and third sentences characterize the delayed action. To emphasize this, the speaker stretches out the pronunciation of sounds, the pace of speech slows down. In the last sentence, the emphasis falls on the words long and cloudy. The slowing down of speech during pronunciation allows you to depict the subject, as it were, to emphasize its length intonation.

The pace of speech will be different if the phrase “Buying a motorcycle made us happy, but buying a car delighted us” is pronounced as a statement of fact and with deep feeling. When stating a fact, the sentence is pronounced in an even voice. If the speaker seeks to convey his emotional attitude, then he will pronounce the second part in a raised tone and at a slower pace.

In general, feelings of delight, joy, anger speed up the pace of speech, and depression, inertia, meditation slow it down.

A very slow pace is also characteristic of difficult speech, the speech of a seriously ill, very old person. In slow motion, a court verdict is read, an oath is pronounced, a solemn promise.

The rate of speech is great importance for the success of the performance.

There are people who, under all circumstances, speak very quickly. It is about them that proverbs are composed: “You can’t keep up with your tongue barefoot”, “Scribbles like a machine gun”, “A thousand words a minute”, “Eka suffered: neither horse nor winged can catch up.”

Fast speech, especially if it is a lecture, requires increased attention, which causes fatigue and a desire to take a break, that is, stop listening to the speaker.

Fast speech is not always clear. The reasons for this may be different:

1. The speaker, out of inexperience, outlines many questions and considers it necessary to have time to state everything in the time allotted to him.

2. Lecturer, speaker is dismissive of the audience and seeks to finish his speech as soon as possible.

3. Sometimes fast speech is due to the shyness of the speaker, fear of the audience.

Undesirable and slow speech. People say about her: “He gives the word to the word with a crutch”, “Word after word crawls on cockroach legs”, “He speaks like he sips water”.

Slow speech discourages listeners, weakens attention and also tires the audience.

It is important for the lecturer to be able to change the pace of speech. If something needs to be emphasized, highlighted (definition, conclusions), then the pace must be slowed down. When the speech is delivered with an upsurge, internal pathos, the tempo accelerates. Let's pay attention to one more phenomenon.

A student enters the dean's office. Addresses the dean: "Hello, Alexander Alexandrovich!"

A neighbor approached a neighbor in the yard: “Hello, Alsan Alsanych!”

Two friends met: “Hello San Sanych!”

How are greetings different? Pronunciation style.

When we are in an official setting, we speak to a large audience, when we want everyone to hear and understand us, then we slow down the pace of speech, we try to pronounce every sound, every word. This style of pronunciation is called complete.

In an informal setting, in a family circle, an incomplete, conversational style is most often used. The style of speech, or rather its pace, may indicate a disdainful attitude of the speaker towards the one he is talking to. This is exactly what I.S. Turgenev, drawing the image of Major General Vyacheslav Illarionovich Khvalynsky:

He is a very kind person, but with rather strange concepts and habits. For example: he cannot treat nobles who are not wealthy or not official in any way, as with equal people. Talking to them<...>he even pronounces words differently and does not say, for example: “Thank you, Pavel Vasilyevich”, or “Come here, Mikhailo Ivanovich”, but “Bolldarya, Pall Asilich”, or “Pa-azhalte here, Michal Vanych”.

And another example from the novel "Fathers and Sons". Arkady and Bazarov were introduced to a high-ranking official:

The gentleness in Matvey Ilyich's manner could only be equaled by his majesty.<..>He patted Arkady on the back and loudly called him "nephew", honored Bazarov, dressed in an old tailcoat, with an absent-minded but condescending glance, casually across his cheek, and an indistinct but friendly lowing, in which only one could make out that "I. ..” yes “ssma”.

Speaking of the rate of speech, we must agree: do we define the way of pronouncing words as "fast" or "slow" in the sense of an absolute value or relative to some "normal" (on average) speed of speech of this particular person?

4.2 "Absolute" speed

In the countries of the Indo-European languages, they speak at a speed of 200 to 500 syllables per minute (speeds below or above these values are respectively defined as "extremely slow" or "extremely fast"), so you can define it like this:

about 200 syllables per minute corresponds to relatively slow speech,

about 350 syllables per minute corresponds to relatively "normal" speech,

about 500 syllables per minute corresponds to relatively fast speech.

Of course, there are national differences, for example, for the French or Italians, the "normal speed" is usually higher than for the Germans. That is why it is so difficult to translate Italian and French films into German: synchronization becomes extremely difficult, since more words can fit in a character’s phrase per unit of time than you can say in German in the same time. Therefore, translators either speak faster than is “normal” for a German listener, or skip some words, that is, partially filter out information. But with simultaneous translation from English, the problem is exactly the opposite.

4.3 Relative speed

But even within one, say, our native language, we notice that the speed of pronouncing words and phrases can vary greatly not only among different people relative to each other; even the same person, depending on the situation, speaks faster in some cases and slower in others.

As for the differences depending on the individuality of the speaker, here, apparently, one should not dwell in great detail. Many questions do not yet have answers, for example: “Does a person speak the faster, the more intelligent he is?” or: “Although the ability to speak at one speed or another is an innate quality, is it not reflected in the influence of the child’s environment in the first years of life?”. Attempts by psychology or kinesics to find answers to these questions will continue. The situation is different with the relative speed of the speaker's speech, which can be very different depending on the circumstances.

Lenneberg, in his book The Biological Principles of Language, has the highest degree An interesting observation: “What determines the speed of speech? Of course, there is no simple answer to this question.... Higher speed (more than 500 syllables per minute) is achieved primarily when the speaker often uses ready-made verbal turns or clichés. This appears to be related to the cognitive aspects of language rather than the physical ability to articulate... Also, exercise plays a role. Some words need to be repeated many times in advance before they begin to be pronounced effortlessly, and therefore quickly.

That is, we can say that in a certain situation a person speaks the faster (we are talking about relative speed), the more often he has already made these statements, i.e. the more often someone says the same expressions, the higher the relative speed of his speech.

When speaking words, we usually have to coordinate more than a hundred muscles (muscles of the chest and abdominal wall, neck and face, larynx, throat and mouth), so it is clear that exercise is a very important factor. It is necessary to practice pronunciation of any specific words or sentences (running phrases), and it is also useful and simple to speak. A person who is accustomed to talking for hours (for example, a lecturer, a teacher) naturally speaks much faster than a person who is used to expressing himself mainly in writing, even if the lecturer does not usually pronounce some specific words 50 times.

The less the information is familiar to the listener (or seems so), the slower you need to pronounce your material!

Slower pronunciation of your material does not mean - slower to speak. The same effect can be achieved by pausing from time to time, asking control questions, inserting examples into the presentation of "theoretical" information so that it is more intelligible.

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4.2 "Absolute" speed

4.3 Relative speed

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