Sergeeva_Ivanova_IMPROVE_YOUR_PRONUNCIATION

5. Read the following pairs of Nouns and Verbs and note the cases when the stress distinguishes between parts of speech.

6. Read the following groups of words focusing your attention on primary and secondary stress.

7.Mark the primary stress. Pay attention on reduced vowels.

1.phi'losophy: phi'losopher – philo'sophical – philoso'phize

2.nagoti'ate: negoti'ation – ne'gotiable – negoti'ator – negotia'bility

3.a'pology: apolo'gize – apolo'getic

4.'system: syste'matize – syste'matic – syste'matically

5.'photograph: pho'tography – photo'graphic – pho'tographer

6.'special: es'pecially – specia'lize – 'specialty – speciali'zation

7.'profit: profi'teer – 'profitable – profita'bility

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8.com'pare: com'parison – cmparata'bility – com'parable

9.'method: me'thodical – metho'dology – methodo'logical

10.'sum: 'summary – sum'mation – summa'rize

GEOGRAPHICAL NAMES MEMORIZING

Read and remember the reading of some of geographical proper names.

1.Thе names of the mountains and chains.

The Alps [DI 'xlps] The Altai [Al 'Al’taI]

The Appalachians [DI xpq'lxtSIqns]

The Atlas Mountains [DI 'xtlqs 'mаuntInz] The Balkan Mountains [DI 'bO:lkqn 'mаuntInz] The Black Hills [Dq'blxk 'hllz]

The Carpathians [Dq kR'peITIqns] The Caucasus [Dq 'kO:kqsqz]

The Crimean Mountains [Dq 'kraImIqn 'mаuntInz] The Highlands [Dq 'hQIlqndz]

The Himalayas [Dq hImq'leIqs] Plateau of Tibet ['plxtq qv tI'bet] The Pyrenees [Dq 'pIqrIni:z]

2.Тhе names of mounts and peaks.

Ararat ['xrqrxt]

Веn Nevis ['ben 'nevIs] Elbrus [el'bru:z] Everest ['evqrest] Etna ['etnq]

Fuji ['fu:GI]

Kilimanjaro [kIlImqn'GRrqu] Mount McKinley ['mQunt m'kInlI] Mont Вlanc ['mOn 'blxn]

Olympus [qu'lImpqs]

Table Mountain ['teIbl 'mQumtqn]

3. Тhе names of the seas, oceans and lakes.

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The Atlantic Ocean [Dq qt'lxntIk quSn] The Arabian Sea [Dq q'rxbIqn si:]

The Arctic Ocean [Dq 'a:ktIk quSn] The Baltic Sea [Dq 'bO:ltIk sI:] The Barents Sea [Dq 'bxrqnts sI:] The Bering Sea [Dq 'berIN sI:]

The Caribbean Sea [Dq 'kxrIbI:qn sI:] The Caspian Sea [Dq 'kxspIqn sI:] The Chukchi Sea [dq 'tSuktSI sI:] The Dead Sea [Dq 'ded sI:]

The East China Sea [Dq 'I:st 'tSQInq sI:] The Indian Ocean [Dq 'IndIqn quSn]

The Mediterranean Sea [Dq medItq'rxnIqn sI:]

The Pacific Осеan [Dq pq'sIfIk quSn]

Huron Lake ['hju:rqn leIk]

Ladoga Lake ['lxdqgq leIk]

Lake Baikal [leIk bQI'kRl]

Lake of Geneva [leIk qv Gq'nIvq]

Loch Ness ['lOk nes]

Michigan Lake ['mISIgqn leIk]

Victoria Lake [vIk'tOrIq leIk]

4. Тhе names оf the islands.

The Bahamas [Dq bq'ha:mqs] The Bermudas [Dq bq'mjudqs] The Canaries [Dq kq'neERIz]

The Falkland Islands [Dq 'fO:klqnd 'aIlqndz] The Fiji Islands [Dq 'fIGI 'aIlqndz]

The Hawaii [Dq hq'waii]

Воrnео ['bO:nIqu] Ceylon ['sI:lqn] Crete [krI:t] Cyprus ['sQIprqs]

Easter Island ['I:stq 'Qilqnd] Jamaica [Gq'meIkq]

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Sicily ['sIsIlI]

5. Read the verses of the rap-song, consult dictionary for reading geographical names.

a)Put stress dots over strong syllables.

b)Read the rap-song beating the rhythm.

These are places in the world, Some yоu know, some you don't, Some are near, some are far, Some sound exotic like Zanzibar. Тhese аrе places in the world.

Воmbау, Саре Вау, Mandalay, Baffin bay, Baghdad, Leningrad, Ashgabat, Trinidad, LA, Norway, Paraguay, Monterrey, Singapore, Ecuador, Mangalore, Baltimore. These аrе places in the world.

P.G., Sicily, Nagasaki, Tennessee, Cairo, Quito, Воrneo, Idaho, Teheran, Dijon, Saigon, Terim,

Guatemala, Oklahoma, Argentina, North Dakota.

These are places in the world. Some are new, some are old. Some are hot, some are cold, Sоmе are low, some are high.

Some are wet, some are dry. These are places in the world. Glasgow, Oslo, Fresno, Sinkio,

Falkland, Auckland, Yucatan, Disneyland, Libya, Namibia, Romania, Pennsylvania,

Bora Bora, Walla Walla, Costa Rica, Bratislava.

These are places in the world. Krakow, Chongju, Moscow, Tokelau,

Dominica, Pike's Peak, Mozambique, Petra, Greek. Warsaw, Moose Jore, Saskatoon, Cameroon, Haifa, Месса, Bethlehem, Jerusalem.

Тhese are places in the world.

High оп the mountain, down оn the plain, Deep in the jungle in the middle of the rain.

Children laugh and children рlау, everywhere, every day.

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These are places in the world.

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READING POERY

1. Read English Nursery Rhymes focusing your attention on the rhythm and paying special attention on strong and week syllables.

3.Read sentences and underline the words which carry important information.

a)I’ve never been to London. I’ve never been to Rome.

I’ve only seen the Pyramids in picture book at home.

b)There’s a room in my house. It’s a very nice room.

It’s a very nice room, indeed.

c)Lemon tree is very pretty. And the lemon flower is sweet. But the fruit of a poor lemon. Is impossible to eat.

4.a) Read the poem, separate it into rhythmic group units and put pauses. Consult dictionary and put correct stress marks.

b) Transcribe underlined words, read them loudly focusing your attention on reading unstressed syllables.

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5. a) Listen and read the poem beating the rhythm.

Sonnet CII

(by William Shakespeare)

My >LOVE is ↓STRENGTHEN'D, | though more 'WEAK in ↓SEEMING;| I 'love ↓NOT less, | though 'less the ↓SHOW 'APPEAR: |

'THAT love is ↓MERCHANDIZED whose 'rich is↑teeming | The >owner's 'TONGUE doth 'PUBLISH ↓everywhere.|| >OUR 'love was ↓NEW | and 'THEN but in the 'SPRING | When >I was 'WONT to 'GREET it with my ↓LAYS, |

As >PHILOMEL in 'summer's 'FRONT doth ↑sing | And 'STOPS her 'PIPE | in 'GROWTH | of ↓riper days: || 'NOT that the ↑summer | is ↓LESS 'pleasant now |

Than when her >MOURNFUL 'HYMNS did ↓HUSH the night, | But that 'WILD music 'BURDENS every ↓bough |

And 'sweets grown 'COMMON | 'LOSE their 'dear ↓delight. ||

>THEREFORE | like 'HER | I 'sometime ↓HOLD my tongue, | BE>CAUSE | I 'would not 'DULL you | with my ↓song.||

b)Transcribe underlined words, read them loudly focusing on reading rules.

c)Separate poem into rhythmic group units and put pauses. Find stressed (strong) and unstressed (weak) syllables. Read it focusing your attention on rhythm.

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STEP V

INTONATION

UTTERANCE DESCRIPTION

STRATEGIES

1.Read the sentence.

2.Determine the communicative type of the sentence.

3.Determine the message of the sentence and the number of intonation groups.

4.Determine the emotional emphasis of the sentence.

5.Find and put all stressed words and put the dots over strong and weak syllables.

6.Determine the pre-head, head, nucleolus and tail in each intonation group.

7.Determine the nuclear tone of each intonation group.

8.Transcribe the sentence. Put all intonation marks.

9.Find and explain all phonetic phenomena (assimilation, adaptation, elision, reduction).

10.Make the intonation scale of the sentence.

11.Determine rhythmic group.

BASIC TONES IN ENGLISH INTONATION

High register

Middle register

Low register

1. Read the following sentences and make the prosodic description according to the algorithm.

1.(showman at a TV program)

Hello, everyone and welcome to the programme.

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2.(husband to his wife)

What do you mean, cooking, cleaning or washing up?

3.(lecturer to the audience)

Well, an interesting survey, actually.

4.(mother to her son)

But wait a minute; have you passed your exam?

5.(news reader in News Channel)

Today the ‘Office for National Statistics’ published the results of a survey.

2. Listen to the telephone talks.

a) Focus your attention on all prosodic features (word stress, sentence stress, pauses, tone and register).

Talk 1

Hi 'THERE, | 'how’s it ↓GOING?....|| Can’t ↓TALK now.|| I’m at a 'RESTAURANT |with my ↓PARENTS.|| I’ll ring you ↓BACK. ↓BYEE!|| RE'MEMBER,| today’s 'Friday and the 'sun’s 'SHINING outside the ↓studio.|| What are you 'getting up this ↓WEEKEND? ||>Well, | here’s a 'song from ↓COLDPLAY.|| They’ve on 'at the 'HAMMERSMITH AP↓POLLO tomorrow night.||

Talk 2

>HELLO…|| I’m >sorry she’s not ↓IN at the moment… || about 'HALFPAST ↓SIX. || … OK, | I’ll TELL her you ↓called.||

Talk 3

↑RIGHT, | and 'NOW | I’d like you to 'give a 'BIG 'welcome to the ' FIRST 'guest on our ↓SHOW tonight.|| And 'when you ↑SEE her,| you’re gonna 'get a big SUR↓PRISE!|| ↑OK,| a BIG ↓HAND please for….

Talk 4

-Yi, ↑DANNY,| 'great to ↓SEE you!||

-↓Hi!|| >What’re you ↓DOING here?||

-I was going to >ask you the ↓SAME thing!|| ↓JENNY invited me.|| >What’ve you been ↓UP to?|| I 'haven’t seen you FOR ↓AGES…

b)Make the prosodic description according to the algorithm.

3.Make the prosodic description of the Conditional Sentences according to the situations in the following dialogues.

1. A: I’d like a cup of coffee.

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B:Well, if hold the baby for five minutes, I’ll make it for you.

2.A: I must go to the bank.

B:If you leave now, you’ll get there before it closes.

3.A: Are you going on holiday this year?

B:Yes, I’ll go to Spain for two weeks if I have some time off work.

4.A: Mum, Dad shouted at me.

B:Well, if you hadn’t been naughty, he wouldn’t have shouted at you.

5.A: Why are you upset?

B:Because it’s all my fault. If I hadn’t been late, we wouldn’t have missed the bus.

6.A: I’m sorry.

B:What for?

A:If I hadn’t left the door open, the puppy wouldn’t have escaped.

7.A: Ouch! I dropped a glass and cut my finger.

B:Well, if you have been careful, you wouldn’t have cut yourself.

8.A: If we had a car, we would go to drive in the country.

B:It would be nice, but unfortunately we have to catch a train.

9.A: Mum, could I go to the entertaining center with Bob?

B:If I were you, I would study for the exam.

10.A: If I were you, I would buy a dog. Dogs are good friends.

B:But I like cats. They are cleaner and less demanding.

4. Make the prosodic description of the Tag Questions according to the following situations.

1.You look out the window. The sky is blue and the sun is shining. – It’s a beautiful day, isn’t it?

2.You’re with a friend outside the restaurant. You’re looking at the prices, which are high. – It’s expensive restaurant, isn’t it?

3.You’ve just come out of the cinema with a friend. You really enjoyed the film. – The film is great, isn’t it?

4.You and a friend are listening to a woman singing. You like her voice very much. – She has a lovely voice, hasn’t she?

5.You’re trying on a jacket. You look in the mirror and don’t like what you see. – It doesn’t look very good, does it?

6.Your friend’s hair is much shorter than when you last met. – You have had your hair cut, haven’t you?

7.You and a friend are walking over a wooden bridge. It’s very old and some parts are broken. – This bridge isn’t very safe, isn’t it?

8.You need a pen. Perhaps Jane has got one. – Jane, you have got a pen, haven’t you?

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9.You’re looking for Ann. Perhaps Kate knows where she is. – Kate, you know where Ann is, don’t you?

10.You’re looking for your keys. Perhaps Robin has seen them – Robin, you have seen my keys, haven’t you?

STEP VI

INTONATION STYLES

STRATEGIES FOR INTONATION

STYLES PRACTICE

CONVERSATIONAL (FAMILIAR) STYLE This style of English is a means for everyday communication, heard in natural conversational interaction between speakers. This style occurs mainly in informal external and internal relationships in speech of relatives, friends, well – acquainted people and so on. So this is spontaneous, colloquial, informal, everyday speech.

1. Listen to the dialogues and say what intonation pattern is used in each utterance.

Dialogue 1

-↑WELL, | is that ↑EVERYTHING? || I ↑REALLY 'have to ↓GO.

->Have you got new 'SUIT and ↓TIE yet, Bob?||

->Well, | you ↓KNOW I 'hate wearing ↓TIES.|| 'That leather 'JACKET of mine 'looks ↓GREAT…|

-↑Oh, come ↓ON 'BOB! You ↓MUST wear a nice 'suit and ↓tie. I’m ↓NOT 'marring you ↓WITHOUT one.||

-↑O↓K, | I’ll ↓WEAR one…| just for ↓YOU.||

Dialogue 2

-↑HELLO.||

-↑HI, Terry.| This is ↓BOB. ||

-Ah, | ↓HI there.||

-RE↑MEMBER| you 'HAVE to co'llect the 'FLOWERS before 'five O’↓CLOCK | – the shop 'closes at ↓FIVE you know.||

-↑O↓K, |don’t ↓WORRY.||

-And ↑TERRY,| 'DON’T forget to 'bring the ↓RINGS.||

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- I >WON’T.| Just RE↓LAX, Bob.||

Dialogue 3 ↑ > ↓ '

-> SO, it 'starts at ↓FOUR.| ↓What 'time do we 'ALL have to ↓BE there?||

->WELL,| you 'have to be a ↓FEW minutes ↑EARLY | – there is an-

other wedding ↓AFTER ↑YOURS.|| ↑And | one ↓MORE thing.|| 'CAN you 'park the 'CARS in the 'TOWN ↓CAR park, ↑PLEASE? | It 'gets 'VERY busy outside the 'church…||

2. Make the prosodic description according to the algorithm.

INFORMATIONAL STYLE is the style of press reporting, educational descriptive texts. It can be represented in monologues, dialogues and polylogues.

Phonostylistic characteristics: Loudness normal or increased; pauses are rather long; rhythm is stable, properly organized; falling tones on the semantic centres, fallingrising in the initial intonation group.

1. Listen to the interview of the applicant applying for a job.

a) Focus your attention on the main features of the informational style.

Woman: Good ↑MORNING, take а ↑SEAT.|| Oliver: Good ↑MORNING| ↓THANK you.||

Woman: >Мy 'name is 'Judith ↓Wainwright.|| I’m the PERSO'NNEL 'manager for 'CAMP Elizabeth ↓HOLIDAYS. And you 'АRЕ | 'Oliver ↑BLACKSTONE? ||

Oliver: ↓THAT'S ↑RIGHT.||

Woman: I >see that you're in your 'last YEAR at ↓SCHOOL.||

Oliver: 'Yes,| I’m >doing my 'A level 'this ↓SUMMER. I >hope to 'go to 'UNIVERSITY to 'study infor'mation ↓TECHNOLOGY.||

Woman: So 'WHY do you 'want to 'work with us at 'Camp E↓LIZABETH?|| Oliver: >Well,| your 'СОMPANУ has а good ↓REPU↑TATION.|| I 'know

some 'PEOPLE who have bееn to уour 'CAMPS and they say EVERYTHING was 'WELL-organized,| you know,| ↓VЕRУ efficient.|| I en>joy 'working with CHILDREN,| you know,| 'organizing AC'TIVITIES for young ↓PEOPLE,| and,| еr,| I'd 'like to 'get some ↓WORK experience. ||

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Woman: >What ex'perience ↓DO you have?||

Oliver:>Well,| I 'help with the 'youth club at ↑SCHOOL.|| I've >organized 'sports e'vents and 'trips to 'various ↑PLACES, |you know,| to ↑CONCERTS,| the ↑THEATRE,| things like ↓THAT. ||

Woman: ↑Мm, ↓GOOD.|| What ↑QUALITIES do you think аrе im'portant for 'THIS 'kind of ↓JOB? ||

Oliver: >I’m sorry,| 'what do you 'mean E↓XACTLY?||

Woman: I >mean,| the 'QUALITIES and 'SKILLS you need to 'work with 'CHILDREN and 'organize 'SPORTS and 'other AC↓TIVITIES.|| Oliver: Well, I ↑THINK you 'CERTAINLY must have ↓PATIENCE.|| А

↓LOT of 'patience! || And, еr,| A'NOTHER im'portant 'thing is EN↓THUSIASM.|| And,| well,| I SUP↑POSE you 'also have to bе 'vеrу 'CAREFUL and a'ware of ↓DANGER.|| ↓ACCIDENTS саn 'happen 'VЕRУEASILY,| so you 'need to bеPRE↓PARED for them.||

Woman: OKAY,| аге there аnу >QUESTIONS you would 'like to ↓ASK mе? Oliver: Еr || yes,| just ↓ОNЕ thing.|| ↓COULD you 'tell mе what 'kind of

ACCOMMO'DATION there is for 'people ↑WORKING at the ↑СAMP? ||

Woman: >Yes, of ↓COURSE,| 'MOST 'monitors have their 'OWN 'rooms but 'some will have to ↓SHARE. ||

Oliver: ↓RIGHT, I ↓SEE. ||

Woman: >WELL,|↓THANK you, Oliver.|| I'll bе >getting in 'touch with 'people 'next ↓WEEK.||

Oliver: >Thank you 'vеrу ↓MUCH.|| ↓GOOD↑BYE.

b) Read the text trying to follow all intonation marks.

2. Listen to the announcements.

a) Focus your attention on the main features of the informational

style.

1. Would >PASSENGERS of the 'AIR France flight 'AF2146 to ↑Ottawa |

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please PRO'CEED to 'GATE number ↓TWELVE.

2.Would >PASSENGERS for the 'BRITISH Airways flight 'BA1462 to ↑BUDAPEST | please PRO'SEED to gate number FIF↓TEEN.

3.Would >PASSENGERS for the 'POLISH Airlines flight 'LO1473 to ↑LONDON please PRO'SEED to gate number twenty-↓THREE.

b) Read the announcements trying to follow all intonation marks. PUBLICISTIC OR ORATORICAL STYLE serves for many kinds

of oratorical activities (especially this style uses in political speeches). Phonostylistic characteristics: Loudness enormously increased; pauses

are definitely long between the passages; rhythm is properly organized; tones mostly emphatic, especially emotionally underlined semantic centres, in nonfinal intonation groups falling-rising tones are frequent.

1. Listen to the Statement of Senator John F. Kennedy Announcing His Candidacy for the Presidency of the United States.

a) Focus your attention on stylistic features of the text.

I’m >announcing TO↑DAY | my `CANDIDACY for the `PRESIDENCY of the United ↓States. I >planed a way for the `New `Hampshire `primary contest. I BE>LIEVE that any `aspirant | for `THIS `high `office | should be `willing to sub`mit to the ↑voters | in `several states in `primary

↑contest | their ↑VIEWS, their ↑RECORD and their A↓BILITIES. The New >Hampshire `primary is the `FIRST `primary in the ↓NATION. It >has tra`ditionally been `ONE of the `MOST IM↓PORTANT. I’ve been >urged to `matter the ↑primary | by the New `Hampshire `state co↑mmittee | and `many of my `friends in the ↓state. I should >do so `therefore with ↓pleasure. And I >hope the `CAMPAIGN will be >ONE | which will `promote the new `voters of New `Hampshire | to `GIVE `THEIR `JUDGMENT | on the 'AFFAIRS of this `state | at a `TIME of `GREAT `NATIONAL

IM↓PORTANCE.

U.S. Senate Caucus Room, Washington, D.C. January 2, 1960

b) Read the speech trying to follow all intonation marks.

2. Listen to the part of Barak Obama’s Speech on Victory.

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a) Focus your attention on stylistic features of the text.

If >THERE | is 'ANYONE out ↓there| who 'still 'DOUBTS that 'AMERICA is a 'place | where | 'ALL things are ↓POS-

SIBLE; | who still ↑WONDERS | if the >DREAM of our 'founders is 'ALIVE in our ↓time; | who still ↑QUESTIONS |

the 'power of our ↓DEMOCRACY, | >TONIGHT | is ↓YOUR answer.|| It’s the >ANSWER 'told

by 'lines that 'stretched around 'SCHOOLS and 'CHURCHES | in 'numbers this 'nation has 'never ↓SEEN;| by 'people who 'waited 'three hours and 'four hours, | 'many for the 'FIRST time in their ↓LIVES, | because they BE↑LIEVED | thet 'THIS time 'must be ↓DIFFERENT;| that their 'VOICES could 'BE that ↓difference. || It’s the >ANSWER 'spoken by 'young and ↑old | 'rich and ↑poor| 'Democrate and ↑Republican,| ↑black, | ↑white, | ↑His-

panic, | ↑Asian, | ↑Native American, |↑gay, | ↑straight, | dis↑abled and ↑not disabled | – A'MERICANS who sent a 'MESSAGE to the 'world | that we

have 'NEVER 'BEEN just a co'llection of 'individuals, | or a 'collection of ↓Red ↑States and ↓Blue ↑States: | we 'ARE, | and 'always 'WILL be, | the 'United ↓STATES of A'merica. || It’s the >answer | that 'lead 'THOSE | who have been 'TOLD for ↓SO long | by 'SO many to be ↓CYNICAL, | and 'FEARFUL, | and 'DOUBTFUL about 'what we can A↑CHIEVE | to 'PUT their 'hands on the 'ARC of ↓history | and 'BEND it once' MORE toward | the 'HOPE of a 'better ↓day. || It’s been a 'LONG time 'coming | but to'night | because of 'WHAT we 'did on ↓THIS day, | in ↓THIS election, | at ↓THIS DE↑FINING moment, | 'CHANGES ↓COME to America.||

b) Read the speech trying to follow all intonation marks.

ACADEMIC (SCIENTIFIC) STYLE is the style of lectures (conferences, seminars). The purpose of communication as the speaker’s aim is to attract the listener’s attention, to establish close contacts with the audience and to direct the public attention to the message carried in the contents of the text.

Phonostylistic characteristics: Loudness increased; pauses are rather long; rhythm is properly organized; high proportion of compound terminal tones (high fall + low rise, fall – rise, rise-fall-rise), a great number of high categorical falls.

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1. Listen to the lecture of the Principal of a language school. Put all the stress and intonation marks and pauses. Read the lecture focusing your attention on intonation and features of scientific international style.

a) Focus your attention on stylistic features of the text.

The 'TOPIC I'd like to 'DEAL with this ↑ MORNING | is | what 'MAKES а good ↓LANGUAGE learner.|| This is…er,| an E'TERNAL 'problem,| and 'one to which there's 'NО 'REAL SO↓LUTION.|| I would however 'LIKE you to 'think about the situ'ation of 'learners ↑OUTSIDE the 'classroom | because in 'many ways it would bе ↑TRUE to 'say that there are ↑MORE people in the 'WORLD | who 'speak а 'foreign 'language or а ↑SECOND 'language | who 'DIDN'T learn it in а 'classroom | than there are | who ↓DID | and I think | this ↓AWARENESS of the suc'cess of 'out-of-'classroom 'learning | pro'vides us with а ↓KEY to how | 'IN-classroom 'learning can bе SUC↓CESSFUL.||

Let us ↓look then at the 'CHARACTERISTICS of а 'good ↓LANGUAGE learner.|| I think ↑MOTIVATION is 'certainly going to bе 'very 'HIGH оn our ↓LIST.|| >Obviously there are 'different 'KINDS of motivation;|| there is what we 'call INSTRU↓MENTAL motivation,|| this is the 'kind of 'motivation which | in 'THEORY 'persuades а 'school pupil to 'lеarn а 'language in order to 'pass an EXAMI↓NATION || - it's EX↓TERNAL 'motivation, something which is IM'POSED оn the learner.|| The 'opposite of 'this is ↑INTEGRATIVE 'motivation,|| the 'KIND of 'motivation which 'gets an 'IMMIGRANT in а 'COUNTRY | or someone who's 'MARRIED to а 'speaker of another ↓LANGUAGE | to 'master the tongue much ↓MORE 'rapidly than 'someone | learning in а ↓CLASSROOM.|| ↑ARGUABLY |'most people pos'sess 'MIXED motivation | although| it would AP'PEAR from RE'SEARCH that 'integrative motivation does 'give much 'better re'sults,| certainly as far as ↓SPEED of learning goes. ||

>PERSONALITY is 'obviously another 'major 'factor to bе bоrne in ↓MIND | - not NECES'SARILY, | I’m 'NOT neces'sarily saying that

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you 'need | – er,| how shall I say? - 'EXTROVERTS to 'learn а foreign ↓LANGUAGE,|| but | 'someone who has the 'CONFIDENCE to 'make 'MISTAKES is 'always going to 'learn 'MUCH more 'QUICKLY than 'someone who is 'AFRAID to EX↓PERIMENT. ||

IN↓TELLIGENCE 'ISN'T а 'factor, I feel, in language 'learning | - I would prefer to 'use the 'term 'LEARNING ↓SKILLS. || >Learning 'skills are those A'BILITIES which | 'make | 'ONE person pro'gress at а 'MUCH faster ↓SPEED than the others;| they IN'CLUDE | having а good 'EAR,| er,| E'FFICIENT re↑vision,| being able to 'MONITOR you own 'speech, | erm,|'suitable ORGANI'ZATION of | er | 'learning ↓GENERALLY. ||

However, if we 'go back to оur ↑STARTING point, | which was the..| in..| the great,| the 'much 'greater 'NUMBER of speakers, er, of 'languages who have 'learnt ↑OUTSIDE classrooms | I think it 'gives us the 'KEY to what 'I believe is the most IM↓PORTANT factor,| and that's | INDE↓PENDENCE.|| А >learner who | 'FREES him or 'herself from the 'TYRANNY of the teacher and the 'classroom | and who | 'makes 'use of 'twenty-four ↑HOURS а day for learning,| 'who,| in а word, a'c- cepts ↑RESPONSIBILITY for learning, | is 'always going to 'bе | not just а ↑GOOD language 'learner | but the ↓BEST.|| ↓CON↑VERSELY, | 'someone who ↑WON'T accept this 'responsibility | is 'always going to re'main at 'what we call а ↓PLATEAU | – er, they've 'FAILED to make 'progress | and 'blame their ↓TEACHERS.|| In RE↓ALI↑TY |it is THEM↓SELVES that they should blame.||

b) Read the leacture trying to follow all intonation marks.

DECLAMATORY (ARTISTIC) is the style of declamation. This is a highly emotional and expressive intonation style that is why it needs special training. This style can be heard on the stage, on the screen, in a TV studio, thus we see that it is always a written form of the language read aloud or recited.

Phonostylistic characteristics: Loudness varied according to the size of the audience and to the emotional setting; pauses are long especially between

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the passages, prolonged emphatic pauses are used to underline the emphasis; rhythm is properly organized; common use of categorical low and high falls in final and initial intimation groups and on semantic centres.

1. Listen to the poem.

a) Focus your attention on stylistic features of the text.

Sonnet CXXX

(by William Shakespeare)

My >MISTRESS’ 'eyes are ↓NOTHING like the 'sun,| ↑CORAL | is 'FAR more 'red than her ↓LIPS’ red; |

If ↑SNOW be 'white, | 'why than her ↓BREASTS are ↑dun; | If >HAIRS be 'WIRES, | ↓BLACK wires 'grow on her' head.|| I 'have seen 'roses ↓DAMASK’D, 'red and 'white, |

But no such ↓ROSES 'see I in her 'cheeks.||

And in some >PERFUMES is there 'more ↑DELIGHT Than in the 'BREATH that from my 'mistress >REEKS.|| I ↓LOVE to 'hear her ↑SPEAK,| yet well I 'know

That 'MUSIC hath a ↑FAR more ↓PLEASING sound;|| I ↓GRANT | I 'NEVER saw a ↓GODDESS go; |

My ↓MISTRESS, | when she 'walks, | ↓TREADS on the ground: ||

And >yet, | by ↑HEAVEN | I 'think my love as 'RARE

As any 'she BE↓LIED | with 'false com'pare.||

(Recited by Alan Rickman)

b) Read the poem trying to follow all intonation marks. 2. Listen to the extract from the story of Frankenstein. a) Focus your attention on stylistic features of the text.

My >NAME is 'Captain ↓Walton. || My 'ship | was 'exploring the ↓ARCTIC | when we found a 'MAN on a 'PIECE of a 'floating ↓ICE.|| He was >called

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