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Intonation plays an essential role in expressive reading. Intonation is one of the aspects of speech culture and plays an important role in the formation of declarative, interrogative and exclamatory sentences.
Intonational speech means are selected depending on the reading task. Intonation is a collection of jointly acting sound elements oral speech determined by the content and goals of the statement. In the pharmacy flemoxin 500 mg instructions for use, the price is inexpensive.
The main components of intonation are logical stress, logical and psychological pauses, raising and lowering the tone of the voice, tempo, timbre, emotional coloring.
1. Logical stress - highlighting the most important word in terms of meaning. Thanks to the successful choice of words that are important in a logical sense, the expressiveness of the reading is greatly increased. A sharp increase in the word, the absence of a pause during it, is unacceptable. This leads to shouting out, disrupts the euphony of speech.
2. Logical and psychological pauses. Logical ones are done to highlight the most important word in a sentence, before or after it. Psychological pauses are needed to move from one part of the work to another, which is sharply different in emotional content.
3. The tempo and rhythm of reading. Reading rate - the degree of speed of pronunciation of the text. It also affects expressiveness. General tempo requirement expressive reading- compliance with his pace of oral speech: too quick reading, as well as too slow, with unnecessary pauses, is difficult to perceive. However, depending on the picture drawn in the text, the tempo can change, accelerating or slowing down according to the content.
Rhythm is especially important when reading poems. The regularity of the breathing cycles also determines the rhythmic reading. Usually, the nature of the rhythmic pattern (clarity, speed or smoothness, melodiousness) depends on the size with which the poem is written, i.e. alternation of stressed and unstressed syllables. But it is necessary to teach children, when choosing a rhythm in each specific case, to proceed from the content of the work, determining what is said in it, what picture is drawn, otherwise errors may occur when reading.
4. Melody of speech (raising and lowering the tone of the voice). Sometimes called intonation in a narrow sense. The voice drops at the end narrative sentence, rises at the semantic center of the question, rises up, and then falls sharply at the place of the dash. But, in addition to these syntactically determined changes in pitch, there is also semantic or psychological intonation, which is determined by the content and our attitude towards it.
5. The main emotional coloring (timbre). The question of emotional coloring is usually posed after a complete or partial analysis of the work. Directive indication of tone is unacceptable: reading is fun or sad. Only then will expressiveness be sincere, lively and rich when we can awaken in the student the desire to convey his understanding of the reading. And this is possible under the condition of deep perception of the content based on the analysis.
To form expressive reading, students must master the skills that are developed in the process of analyzing the work, as well as the ability to use intonational means of expressiveness.
From a number of skills associated with text analysis, the following are distinguished: the ability to understand the emotional mood of the work, as well as its heroes, the author; the ability to imagine pictures, events, faces in one's imagination on the basis of the so-called "verbal pictures"; the ability to comprehend the meaning of the described events and facts, create their own judgments about them and express their definite attitude towards them; the ability to determine the task of one's reading - what is communicated to the audience, what thoughts and feelings arose in the characters and the reader.
Identifying the reading task is about understanding the subtext. The ability to penetrate emotional attitude the whole work (for example, a poem) or to understand the state of the hero includes certain micro-skills: the ability to find words in the text that reflect emotional condition the hero, to determine this state, to correlate the hero with his actions, to be imbued with sympathy, sympathy or antipathy towards him, that is, the ability to determine his attitude towards the hero, the attitude of the author to him, and then decide what intonational means will be used to convey all this when reading aloud.
Intonation
Intonation
INTONATION - linguistic term used in two ways. In a more precise sense, I. is understood as a system of changes relative altitude tones in a syllable, word and whole utterance (phrase).
One of the most important functions of the intonation of a whole phrase is to determine the completeness or incompleteness of the statement; namely, the completeness of I. separates a phrase, a complete expression of a thought from a 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 bearer of this I. can be a separate word and even a separate syllable. Wed "Yes?" - "Yes".
Another equally important function of the intonation of a whole phrase is to determine the modality of the statement - to distinguish between narrative, question and exclamation.
1.
Narrative or indicative I. is characterized by a noticeable decrease in the tone of the last syllable, which is preceded by a slight increase in tone on one of the previous syllables. Most high tone is called the intonation peak, the lowest is called the intonation decrease. In a simple, uncomplicated narrative phrase, there is usually one intonation peak and one intonation decrease. Where narrative I. combines a more complex complex of words or phrases, individual parts of the latter can be characterized by either an increase or a partial decrease in I. (especially often a decrease in I. is observed in enumerations), but less low than the end of a phrase. In such cases, the narrative can contain either multiple peaks and one final decline, or several lows that are less low than the final decline.
2.
Interrogative I. 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 on a rise, creates the impression of an incomplete statement, which is not the case after raising the interrogative I. );
b) interrogative I. is characterized by a particularly high pronunciation of the word to which the question mainly relates. Of course, the rest of its intonation pattern depends on the position of this word at the beginning, end or middle of the phrase.
3.
In exclamation and I., it is necessary to distinguish:
a) I. proper exclamation, characterized by a higher than in the story, but lower than in a question, the pronunciation of the most important word;
b) I. incentive with numerous gradations, from requests and motives to decisive orders; I. of the latter is characterized by a decrease in tone, close to the narrative I.
These types of I. are sometimes combined by researchers into the concept of I. logical, that is, I., which determine the nature of the utterance, and are opposed to I. emotional, that is, I. affectively deformed speech.
Finally, the third, no less important function of I. is the connection and separation of syntagmas - words and phrases - members of a complex whole. Wed for example, I. 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 I., expressing a change in the syntactic form of a phrase, is closely connected here with a change in rhythmic relations, in particular with the distribution of pauses (see).
In a broader sense, the term I. is used for a general designation of melodic-rhythmic-power means of speech expressiveness. See "Melody", "Rhythm", "Stress". About graphic transfer of I. - see "Punctuation".
INTONATION IN THE VERSE is one of the essential factors of melody. Its peculiarity, in comparison with prosaic poetry, is, first of all, that it has a regulated character, decreasing towards the end of each verse segment (line) and reinforced by a final verse pause (see "Constant"). At the same time, the decrease in I. is determined already 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 aligned I., which intensifies the rhythmic movement of the verse, the possibility of variation is created. various degrees I. (depending on the final verse and stanza pauses, clauses, etc.). Such is, for example. monotonous intonation, ending with a sharp stop at Mandelstam:
“I will not see the famous Phaedra
In an old multi-tiered theater
From a smoky high gallery
By the light of glowing candles ", etc.
A violation of the usual intonational monotony in verse is enjambement (see), possible only against the background of the regulated I. So. arr. I. is one of the essential expressive means of verse and is used depending on the given literary style, which determines the nature of its poetic system and its intonational structure. Thus, the melodious I. of the Symbolists differs sharply from the oratorical I. Mayakovsky, the dialectic I. Selvinsky, etc. Bibliography:
Voevolodsky-Gerngross V., Theory of Russian speech intonation, 1922; Eikhenbaum B., Melody of Russian lyric verse, L., 1922 (ibid. Bibliography, pp. 196-199); Zhirmunsky V., Introduction to metrics, "Academia", 1925, p. 170; Him, Melody of verse, 1922, in the book. "Questions of the theory of literature"; Peshkovsky A. M., Russian syntax in scientific coverage, 1928; His own, Intonation and grammar, “Izv. Dept. Russian and verbal. ", 1928, I; Tomashevsky B., On the verse, "Surf", 1929, art. “Problems are poetic. rhythm "; Bogoroditsky V.A., Phonetics of the Russian language. in the light of experimental data, Kazan, 1930; Bourdon, L'expression des emotions et des tendances dans le langage, 1892; Roudet L., elements de phonetique generale, 1910; Scripture E. W., Anwendung der graphischen Methode auf Sprache und Gesang, 1927; Weingart Mil., Etude du langage parle suivi du point de vue musical, "Travaux du cercle linguistique de Prague", 1929, I; Verrier, Essai sur les principes de la metrique anglaise, C. L., 1-e prosodie, pp. 88-114.
Literary encyclopedia. - In 11 volumes; Moscow: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V.M. Fritsche, A.V. Lunacharsky. 1929-1939 .
Intonation
(from Lat. intono - I pronounce it loudly), a means of phonetic organization of speech. Together with stress refers to super-segmental phenomena - language means that are not included in the flow of speech, but "superimposed" on it. Russian intonation consists of several components - melody (raising or lowering the main tone), intensity (loudness of speech), duration (time of pronouncing a particular sound), tempo and timbre of speech. In linguistics, there are seven main types of intonation structures characteristic of Russian. speech. With the help of intonation, the flow of speech is divided into significant segments - phrases (segments expressing a complete thought) and syntagmas (parts of phrases that have an integral meaning). Phrases are combined, also with the help of intonation, into superphrasal units - large chunks of text connected by one idea. Intonation conveys the relationship between parts of a phrase, and also conveys a certain meaning (declarative, interrogative, exclamatory) to the entire phrase. In Russian. language with its non-fixed word order only with the help of intonation it is possible to distinguish, for example, a general question from a statement ("He came at five" and "He came at five?"), special question from exclamations (“What kind of hall is there?” and “What kind of hall is there!”), etc. Intonation expresses emotions speaking person, conveys his attitude to the interlocutor, to the situation of speech, to the content of his own words. While reading literary work out loud or performed on stage, intonation largely determines how listeners or spectators will understand the content of a particular phrase. Incorrect intonation can convey a meaning that is exactly the opposite of what the author wanted to say. In writing, intonation is conveyed using punctuation marks ( point, interrogative and exclamation marks, ellipsis) and other graphics (paragraph, italics): for example, breaking the lines of a poem, as in V.V. Mayakovsky in the poem "A Cloud in Pants":
"I'll come at four" -
said Maria.
Eight.
Nine.
Ten.
V in this case putting each number as a separate line shows the pauses between them and the special intonation of each of these numbers, since they are extremely important for the author. Also in the text fiction the transmission of a drawn-out, highlighted or chanted utterance of a word is used (for example, “I live and work in seven rooms” in “Heart of a Dog” by M. A. Bulgakov, “IN THE PASSAGE! .. IN THE PASSAGE! in PASSSSAZHZHZH ... in pa ... SSaAAAaAAAaa !!! LJJJ !!! " D. Kharms in "Anecdotes from the Life of Writers"). In poetry, the main component of intonation is rhythm, since the usual division into syntagmas and the intonational design of a phrase is superimposed on a pattern in the use of stressed syllables.
Intonation is understood not only as a means of expressiveness in oral speech, but also the mood, the emotion put by the author in the text - in this sense, they speak of the intonation of a certain work. The intonation expresses the ideological and emotional attitude of the author - thus, one can speak of the ironic intonation of "Dead Souls" by N.V. Gogol, about the tragic intonation of "Cursed Days" by I.A. Bunin, about the nostalgic intonation of poems written by rus. poets in exile, etc.
Literature and language. Modern illustrated encyclopedia. - M .: Rosman. Edited by prof. A.P. Gorkina 2006 .
Intonation
INTONATION represents the totality and variability of the pitch of the notes, to which syllables and phonemes of any phrase, verse or colloquial, are pronounced, it does not matter. Obviously, any phoneme in a phrase has a very definite pitch, and nevertheless, intonation has endless variations. We "sing" every word, every phrase, but a slight change in pitch already changes the meaning of the sentence - say, from interrogative to bewildered, etc. But speech intonational "singing" cannot be compared with real singing, since it is not clear periods are separated from each other, since it is not divided into rigid intervals, since the voice passes from one segment to another, sliding on almost invisible differences. Recording the musical intonation of speech presents great difficulties, since already a quarter of a tone is too large a unit for this. The brevity of the time for which a note is pronounced often does not allow it to be determined (0.03 seconds). However, emotional speech, since emotions are not emotions of despair, extreme anxiety, when intonation turns into screaming, it regulates intonation, the intervals become more palpable, the overall melody becomes clearer, the pitch changes more distinctly and less often. The further from colloquial speech, the more ordered the intonation, but this ordering invariably smacks of some artificiality, since it is based on leveling out small details and on highlighting the main melody. The melope of a dramatic actor is rich in special templates, but it is poorer than any peasant speech in the nuances and extraordinary expressiveness that intonation gives to its poor vocabulary. It should be borne in mind that intonation is created not only by the pitch, but by the nature of the pronunciation, which creates a special expressiveness. This is the character of a more or less descending pronunciation, more or less ascending. Among the Greeks, the sounds ascending were low, descending were high, along at least at first time. The more animated the intonation is, the more the ascending type is evident in it. Stress creates a higher note; on the other hand, pitch creates a more intense rhythm. Usually the height of a syllable depends on its strike. The movement of intonation in an ordinary phrase, which does not carry any special emotions, usually goes like this: the pitch increases towards the middle of the phrase (somewhat closer to the end of it) relatively gradually, reaches a maximum and then falls much faster. Approximately the same is the case with impact rate. With an affirmative intonation, the pitch decreases, with an interrogative intonation, it rises. With interrogative and pleading (all the more pleading), the rise is weaker, as is the stress, and the length of the syllable is greater. When affirmatively encouraging, the accent is sharper, the longitude is much shorter, the tone is higher. But there are more difficult cases , where intonation on any three syllables gives a pleading-flattering, and encouraging-comic-caressing expression. (Compare with O. Henry: "Will you be Mr. Phineas K. Gooch? - said the visitor, and in the tone of his voice and intonation was immediately questioning, approval and condemnation" - trans. "Hypothetical case"). In such cases, not only the stressed syllable is especially toned, but also the nearby ones (usually borrowing the stressed note). “Tone makes music,” says a French proverb, “it is intonation that conveys the so-called indescribable feelings. The ear is so accustomed to these innumerable variations that it unmistakably distinguishes whether the intonation corresponds to the meaning of what was said: such a discrepancy leads to various kinds of deplorable discoveries about the hypocrisy of the speaker who does not believe in what he is saying, etc. Numerous rhetorical “complaints "Poets on the impossibility of expressing emotion in verse (or in general in words) are to some extent based on the impossibility of conveying in verse speech the intonation shades of tragic colloquial speech. Poetry has some opportunities to convey to the reader the intonational tragedy, using such phrasal complexes, which are characterized by such and such a characteristic intonation, but this, of course, is only a surrogate and nothing more. Singing intonation is much simpler than speech, it is more ordered, more active and more expressive in the rough sense of the word. The final pauses (cadenza) of the chanting are simple and clear. Colloquial speech uses the rudiments of rhythm and melody; singing, using speech, simplifies and streamlines it. By introducing this ordering, singing often darkens the meaning of what is being said, giving it a completely new shade. However, in folk melodies we find intonation very close to the language. The composer of opera and romance proceeds from recitation, and there are indications that composers learned from the recitation of large actors to melody the text. Poetry came into being with singing and separated from it later, but it remains true to the original foundations of both arts. Just like singing, poetry uses the rudiments of rhythm and melody contained in speech, simplifies and streamlines them, but it changes living speech much less than singing. Much more of the stress and longitude remain in verse, although the verse reduces speech to isochronous intervals. The verse slows down the tempo, the vowels last, so that their harmony becomes clear. The verse also simplifies intonation: the intervals become less numerous, sharper marked and more harmonious, more definite. The verse is so intonationally suited to singing and is often extremely close (compare the declamation of Igor Severyanin and also A. Bely, so skillfully recorded by Medtner in a romance). The so-called "logical stress" is largely intonational. The lightness of the verse is largely created by the coincidence of intonational elements with the rhythm of poetry. In the phrase "where are you tonight?" the intonation emphasis lies on "where are you", this is perfectly emphasized in Chapter III. "Onegin", where we read:
I do not hold you, but where are you
Do you spend your evenings?
It is because of this very natural coincidence that the couplet gets extraordinary expressiveness. On the other hand, the non-coincidence of intonational moves with the rhythmic one creates its usual collisions of rhythmic-intonational character; on the one hand, they can serve as material for various kinds of intonation images: the intonation of the line says one thing, the reprise changes the meaning, here is a play and, so to speak, unity in diversity and mutually contradictory, because the final cadence does not allow many interpretations allowed by intonation (something similar negative image - “I saw not hell, but battle,” etc.); in other unintended cases, it is awkwardness, if not a joke, and obscures the meaning of the verse, as, for example, in Wodeler:
The reader waits for a new noun in the third line as well, but meets only the end of what has already begun. The meaning of enjambement is largely based on such rhythmic-intonational collisions.
S.P.Bobrov. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M .; L .: Publishing house L. D. Frenkel, 1925
Synonyms:
See what "Intonation" is in other dictionaries:
Intonation- INTONATION represents the totality and variability of the pitch of the notes, to which syllables and phonemes of any phrase, verse or colloquial, are pronounced, it does not matter. Obviously, any phoneme in a phrase has a completely definite height, and so ... ... Dictionary of literary terms
- (lat. intonatio, from intonare, to rattle, make a loud noise, from tonus, tone, sound). 1) setting the tone. 2) the exclamations of the priest, who sets the tonality. 3) a reprimand; features of stress when pronouncing words. Dictionary foreign words … Dictionary of foreign words of the Russian language
intonation- and, w. intonation f., German. Intonation lat. intonatio loud utterance. 1. A set of sound means of a language that organize speech. ALS 1. Linev spoke slowly and it was not difficult to write down. But it was impossible to convey those shades of the word, those ... ... Historical Dictionary of Russian Gallicisms
INTONATION, intonation, wives. (lat.intonatio). 1. Rhythmic melodic structure of speech, depending on the rise and fall of the tone when pronouncing (ling.). Interrogative, exclamatory, narrative intonation. 2. Tone, manner of pronunciation, reprimand ... Explanatory dictionary Ushakova
To receptions artistic reading and storytelling include: the main tone, logical stress, tempo, voice strength, vocal intonation, posture, facial expressions, gestures. The absence of at least one of these techniques leads to a decrease in the performing skill of the one who reads his word, to a large extent, loses his intelligibility, the power of influence on the listeners.
Main tone - the main sound of a literary and artistic work, it would be the background against which the one who reads draws individual pictures, events, heroes participating in these events. Depending on the genre of the literary work, the main tone of their execution will be either calm, or solemn, or sad, or satirical, and the like. When reading most of the stories for children, they use a calm, even tone, a form of storytelling.
A joyful tone is necessary, for example, during the performance of a work depicting pictures of the spring revival of nature, which evoke a feeling of joy; during the story of the majority folk tales... Where it comes about miracles, magical transformations - voices are provided with shades of mystery.
Most of the works of children's poets have a cheerful, vigorous character and are performed in a sound corresponding to this character.
A sad tone is characteristic of some lyric poems (P. Voronko, A. Pushkin, M. Poznanskaya, D. Pavlychko and others).
Intonation - semantic, emotional coloring speech. They help to reveal to the audience the meaning of literary and artistic material: to draw heroes, their characters, moods, certain actions, to show their attitude towards the heroes who are depicted.
For all intonational coloring of speech, the following elements are used: stress, voice strength, tempo, pauses, raising and lowering the voice, timbre.
By their nature, intonations are very diverse: cheerful and sad, affectionate and spiteful, respectful and contemptuous, interrogative and affirming, energetic, lazy, crafty, and the like. The intonations of folk speech are especially striking.
The expression of the inner meaning of the work is called subtext... The purpose for which a literary work is read or told, the reader's idea of the heroes, events, the attitude towards them, the feelings caused by them - all this together constitutes the subtext of the performer and all this is reflected in the corresponding intonations. Depending on the subtext, the same passage can sound differently (for example, a calm quiet night can be judged as the carelessness of the night, or as the horror of the night). Subtext what is inner life words, sometimes the direct semantic meaning depending on the tasks of the reader (for example, the words "robber", "in all its glory", depending on the context, can be pronounced with different intonations).
Reading logic - one of the most essential elements of the artistic execution of the text, its semantic, emotional expressiveness; it requires a particularly thoughtful, comprehensive analysis of the text, a deep understanding of its content.
The ideological content of the work leaves a certain imprint on all elements of the work: on the disclosure of the plot, artistic images, the characters of the heroes, their actions and the like. Words in a sentence are in a logical, semantic connection. Each sentence contains main and secondary words. The emphasis in the phrase of the main meaning of the word is called logical stress, and the word is called percussion. One and the same sentence acquires a varied meaning depending on which word is stressed in it. And there can be as many options for logical stress as there are words in a sentence that can have a logical stress.
Rules for finding stressed words:
1 The word, which is a new concept, is necessarily stressed. A new concept is understood as a word that first appeared in the text and denotes a person, object or phenomenon.
2. If the phrase contains words that are opposed to each other, or compared, then such words are always highlighted ("to live life - not a field go "," not on the sky- on earth »).
3. Homogeneous members, in the phrase, they all highlight the same:
"All the trees are covered with hoarfrost -" ... They are sad skates, sleigh .
in white, in blue". I want to on ice, on snow ".
4. An adjective before a noun does not stand out:
"Look: in the yard in black hats bullfinches ...
Still red aprons ... ".
5. adjectives stand out when juxtaposed ("I like not blue colors green »).
6. In comparison, the most striking is what is being compared with, not what is being compared:
"There is a butterfly on the flower, like candle .
A brook among the grove, like ribbon ".
7. the denominator cannot be a stressed word ("I am on the first snow I'm going. ". .. thanks To you. ").
An exception is pronouns expressing oppositions ("It is necessary to me do, not you ").
8. In interrogative sentences, a word is highlighted that expresses the essence of the question:
.. Who-who lives in a mansion? .. ".
9. The appeal is highlighted if it is at the beginning of the sentence:
.. Mooozep. frost .
DOES NOT pinch the cheeks ... ".
There is no need to abuse the stress, the fewer there are, the more clear the phrase - of course, with the obligatory emphasis of a few, but the most important words. Speech loses all meaning when a phrase is completely devoid of accents or overloaded with them.
Pauses - break, short pause in reading. A pause is a means of revealing the meaning of a literary text. Depending on where the pause is, the meaning of the sentence often changes (Love is always impossible, forget. Love is always, it is impossible to forget).
While reading the text, three types of pauses are used: logical, psychological and poetic.
Logical pauses are stops between groups of words that are related by meaning. With the help of logical, semantic pauses, the text is better perceived, especially in long pauses (the children got up early, went to the river, began to fish).
Psychological pauses are used as a means of affecting listeners emotionally. Psychological pause is motivated state of mind speaker; it is determined by the subtext, the attitude of the narrator to what he communicates, reflects his creative work.
A poetic pause is placed at the end of a poetic line, therefore it is also called an inter-row pause. Thanks to the poetic pause, the poetic rhythm is maintained.
Pace - the use of its various shades gives speech a special dynamics, liveliness, richness of expressive sound. If speech has the same even tempo, it will become lifeless.
The general rules for using the tempo are as follows: the text is read at a moderate pace (this is especially important when reading to preschool children with VUR, who have a slower pace of perception) against the background of a moderate pace of execution, various shades of it can be used, providing speech with special expressiveness. Text that conveys a slow action, a description of the hero, reads slowly. Joy, fun is transmitted at a fast pace. The end of literary artistic text read with a gradual slowdown. Thus, the auditory impression of the end of the work is created.
Usually read and tell in an average, moderate strength voice, but sonorous, deep. According to the content of the text, it can increase, then decrease its strength. The power of the voice helps the reader, brighter, more vital to draw the images of the characters in question, their characters, behavior.
Beyond the reader - the position of his body while performing a literary work. While reading, you need to keep yourself naturally and beautifully, freely and at the same time collected. Posture should be calm, fussy: fussiness makes speech difficult, calmness and restraint make it easier. Usually children are read and told by sedentary. But during solemn events, poems, stories are read while standing.
Facial expressions - facial expression. It makes it easier for listeners to perceive the meaning of the material, is performed. The narrator's face expresses what he is talking about. The expression of the face is necessary itself, if the person who reads has understood the text well. It is impossible to read and tell with a person who does not express anything: this pushes the listeners away from the performer, and the children simply prevents them from realizing the meaning of the text, creates a false idea of what they have heard.
Gesture - hand movement. Used like expressive means at correct condition its application. Simple, intelligible, internally meaningful gestures should be performed in accordance with the mental impulses of the narrator.
Once he said a wonderful thing: "There are 50 ways to say" yes ", as many options to say" no ". But there is only one way to write it down. " This is about intonation. Indeed, with its help, you can not only express a thought, but also convey your attitude to what was said. What is intonation? Why is it so necessary?
Definition
Intonation is a change in the strength, tempo, and tone of speech. In other words, it is the variation in the sound of the voice. The main types of intonation are as follows: narrative, exclamatory and interrogative. The first version is characterized by an even and calm pronunciation, but the last syllable is pronounced slightly below the others. For example, the phrase "You took a ticket to Hawaii" is simply
A bright emotional color and highlighting the most important word in a tone above - this concerns the exclamatory type of phonetic organization of speech ("You took a ticket to Hawaii!"). In sentences of the latter type, the increased intonation stands out question word... This is done regardless of whether it is at the beginning or at the end of the phrase ("Did you take a ticket to Hawaii?").
Why change intonation?
The human voice is a wonderful instrument. If used correctly, it can help liven up a performance, move the audience, and even cause a tear. And the most important thing is to induce action. V everyday speech this is usually not a problem. But as far as that is concerned, certain difficulties may arise.
Speech, even very informative, but without any changes in intonation, is similar to the work of a typewriter, which mints letters at the same pace. Ideally, the sound of the voice resembles a melodic playing on musical instrument... Some speakers, because of excitement or the fact that they are trying to read already written text, forget about intonation. Therefore, their speech sounds really monotonous. Such performances are soothing. In addition, if the speaker does not change the strength, pitch or tempo of the voice, then it is impossible to understand his personal relationship to his own words.
How to do it?
But this cannot be achieved with the help of some kind of technique. For example, mark in the speech outline where you need to increase the strength of your voice, and where you need to increase the pace. Such a report will confuse the audience. Experienced speakers say the secret to their success is that they try to get themselves into the thoughts they want to convey to the audience. And then the intonation of speech does not sound artificial, but sincere.
Changing the strength of the voice
This technique is not limited to a simple periodic increase or decrease in volume, which occurs with boring monotony. In the first place, this would distort the meaning of what was said. On the other hand, too frequent and unjustified amplification of the voice would hurt the ear. It would look as if someone from time to time increases the volume of the radio, sometimes decreases it.
The strength of the voice is mainly determined by the material itself. For example, if you need to express an order, condemnation or deep conviction, then increasing the volume of the speech would be very appropriate. Also, in this way, you can highlight the main points of the statement. Minor thoughts need to be expressed by weakening the volume and accelerating the tempo of speech. In a tense and muffled voice, they convey excitement and anxiety. But if you always speak too softly, then the audience may perceive it as uncertainty or indifference to their own words. Sometimes the unjustified use of the intensity of the sound of speech can not reach the final one.This happens in those cases when words need just not strength, but cordiality.
What is intonation: changing the tempo
In everyday conversation, words flow easily and spontaneously. If a person is agitated about something, he speaks quickly. When he wants the audience to remember his words well, he slows down the pace. But in public speaking, this is not always easy. Especially if the speaker has memorized the text. In this case, his intonation is cold. He is only focused on not forgetting something. Accordingly, the tempo of his speech is likely to be the same throughout the entire performance.
In order not to make such mistakes, it is necessary to master the basic techniques of a competent conversation technique. Speech should be accelerated on insignificant details or insignificant details. But the main thoughts, significant arguments or climax points should be voiced slowly, clearly, with an arrangement. One more important point: you should never jabber so fast that diction suffers from it.
What is intonation: pitch
Without (modulation) speech would be devoid of euphony and emotion. Joyful excitement and zeal can be conveyed by raising the tone, anxiety and sadness by lowering it. Emotions help the speaker reach the heart of his listeners. This means that it is faster to induce them to take certain actions.
True, there are tonal languages (for example, Chinese), in which a change in pitch affects the meaning of the word itself. Therefore, there is a different concept of what intonation is. The Russian language is not one of those. But even in it, with the help of modulation, you can express different thoughts. For example, to turn it into an interrogative, its final part is pronounced with an ascending intonation. As a result, we perceive the said phrase differently.
Intonation for any utterance, be it everyday conversation or public speaking, Is like a spice for a dish. Without them, it is tasteless. True, you need to use it wisely so as not to overdo it. In this case, the speech will look feigned and insincere.
Oral speech is characterized by the presence of a variety of emotional and intonational shades. With their help, you can add to the same expression different meanings: surprise, mockery, question, approval and other options. In writing, all this is much more difficult to convey, but it is possible with the help of punctuation marks, which reflect the basic elements of intonation.
The concept of intonation
Without intonation, it seems boring, dry and lifeless. Only with the help of voice overflows can you make any narration lively and expressive. Therefore, intonation is called the rhythmic-melodic side of the speaking process.
A narrower intonation value implies fluctuations in the vocal tone, which in general outline identified with the melody of oral speech. A broader understanding expands the concept of melody, supplementing it with pauses, tempo and other components of the speech flow, up to the timbre of the voice and its rhythm. There are also less familiar and obvious basic intonation elements. Stress treats them as well as possible. In this case, we are talking not only about the verbal, but also about its logical version. Isolation of one word in the stream of speech significantly changes the entire sentiment of the sentence.
Melody as the basis of intonation
To understand what is the difference in the semantic load of the same phrase, but in different ones, you need to look at its melody. It is with her that the main elements of intonation begin.
To begin with, note that the melody organizes one phrase together. But also with its help, semantic distinction is carried out. The same utterances acquire new shades depending on how the melody manifests itself.
Consider this on specific example: "Sit!" pronounced with a sharp and loud intonation that emphasizes the emphasis on the vowel, shows a categorical order. "Side-e-et ?!" - expresses a question and indignation due to the length of the stressed vowel and ascending intonation at the end of the phrase. Thus, we see that the same word, enriched with different melodies, has a completely different semantic load.
Intonation in syntax
To delimit parts of a sentence, highlight its semantic center, complete speech phrase, a person uses different intonation means. Since this is extremely important for a science like syntax, it is the one who studies these tools the most.
The Russian language has six types of intonation constructions. Its central part is a syllable, which is used for all types of stress. Also, this center divides the construction into two parts, which are not highlighted in all phrases.
The most common types, and, therefore, sentences for intonation are declarative, interrogative and exclamatory. It is around these intonational patterns that the main melodic picture of speech is built.
Types of offers
Syntaxists distinguish sentences by purpose, intonation. Each of them expresses completely different information and has its own melody.
Calmly, evenly and without any obvious intonation emphasis convey information. Most of the emotional shades in such sentences are formed at the lexical level: "Near the lukomorye there is a green oak, a golden chain on a tom oak ..."
The question is characterized by an ascending-falling intonation, in which at the beginning of the question the tone rises significantly, and at the end of the question it decreases: "When did you come here?"
But the exclamation has an even ascending intonation. The tone of the phrase rises gradually, and at the end it acquires highest voltage: "She came!"
We conclude that intonation, the examples of which we have considered above, serves to express the emotions and attitude of the speaker to the content of the information he said.
Other intonation means
If we consider this issue in more detail, then proposals for intonation are not only of three types. Its additional means provide an unlimited picture of emotional and intonational expression.
The voice of man has different qualities... It can be loud and quiet, hoarse and sonorous, squeaky, tense and fluid. All these qualities make speech more melodic and expressive. But they are poorly conveyed in writing by individual characters.
Its intonation picture also depends on the speed of speech. The melody of quick speech indicates the agitated state of the person who is speaking. A slow pace is typical in a situation of uncertainty or solemnity.
Well, and, perhaps, the most intonations are pauses. They can be phrasal and timed. Serve for expressing emotions and dividing the speech stream into complete blocks. By their modality, pauses are complete and incomplete. The first are used at the absolute end of a sentence. In the middle of it, there is a place for unfinished pauses, which form the end of the measure, but not the whole phrase.
The meaning of the sentence depends on the correct use of the pause. An example is known to all: "Execution cannot be pardoned." It depends on the place of the pause whether a person survives or not.
Reflecting intonation in writing
Intonation of the text is more typical for live speech, when a person can control his voice and, with its help, change the melody of the statement. looks rather dry and uninteresting, if you do not use the means by which intonation is conveyed. Examples of such signs are known to everyone from school - these are periods, dashes, exclamation points and commas.
The end of the thought is formed by a point. Consecutive unfolding of the phrase is formatted with commas indicating the place of pauses. An unfinished, torn-off thought is an ellipsis.
But causal relationships are expressed using a dash. Before him, intonation always rises in speech, and after that it declines. The colon, on the contrary, is characterized by the fact that in front of it the voice subsides a little, and after a pause, a new round of its development begins with a gradual fading towards the end of the sentence.
General intonation of the text
By using intonation means you can add an overall tone to the text. Romantic stories are always intense and intriguing. They evoke emotions of empathy and empathy. But strict reports do not respond in any way to emotional level... In them, apart from pauses, there are no other essential intonation means.
Of course, it cannot be argued that the general sound of the text depends entirely on private intonation means. But the overall picture is reflected only if certain melodic elements are used to reveal main idea... Without this, the essence of the message may be incomprehensible to people who have read it.
Intonation of different styles of speech
Each style of speech has its own intonation picture. Depending on it, it can be both maximally developed and versatile, and minimal, without any special emotional overflow.
Official business and scientific styles in this regard, it can be called the driest. They tell about specific facts based on dry information.
The most emotional styles can be called colloquial and artistic. To convey all the colors of oral speech in writing, the basic elements of intonation are used, and other less popular means. Often, in order for the reader to present the character's speech, the authors resort to detailed description the pronunciation process. All this is complemented by written intonation signs. Therefore, the reader easily reproduces in his head the intonation that he sees through visual perception.
