В 20-е - 30-е годы ХХ века московские произносительные нормы были значительно поколеблены в результате резкого расширения социальной палитры носителей литературного языка. Источниками нарушения старомосковского произношения явились диалектная речь и речь письменная.
К Х1У веку складывается средневеликорусское наречие, вобравшее в себя черты северных и южных диалектов: безударный [о] сочетается с [г] взрывным: [мълЛкоґ], [гъвЛр' яуґ], [гр'ип].
К Х1У веку центром Руси становится Москва. Именно в Москве закладываются основы русского литературного произношения. Именно московское произношение становится образцом для подражания; говорить так, как в Москве, становится престижно, поскольку именно в Москве живут многие видные государственные деятели, представители науки и искусства того времени, именно Москва становится культурным, научным и политическим центром. Кроме того, как отмечал М.В. Ломоносов, “Московское наречие не токмо для важности столичного города, но и для своей отменной красоты прочим справедливо предпочитается, а особливо выговором буквы О без ударения как А, много приятнее…”.
Московские произносительные нормы окончательно сложились к концу Х1Х века. Но уже с середины Х1Х века у московского произношения появился конкурент - петербургское произношение, которое начало постепенно усиливать свои притязания на роль общелитературного образца. Главное отличие петербургских орфоэпических норм - усиление буквенного произношения:конечно - [кЛн'эґчнъ], что - [что].И хотя в Х1Х и начале ХХ века петербургское произношение не стало общепринятой нормой, оно оказало впоследствии значительное влияние на становление новых орфоэпических норм.
Большую нормализаторскую роль в упорядочении русского произношения (и написания, и образования грамматических форм, и толкования семантики слова)
Purpose: To learn the importance of varying the pitch, rate and volume of the voice. Emphasizing different words will alter the meaning of the poem that the students are reading. Exercise 1:
1. Use the following poem by Bruce Lansky for this exercise. My Baby Sister
My baby sister's really swell. I love her smile. but not her smell.
2. fake turns reading the poem emphasizing one word over the others. For example, the first student reads it emphasizing "My" and the second student reads the poem emphasizing "baby," and so on until the last student has read the poem emphasizing the last word "smell."
3. Reading the selected word with emphasis means to say it louder, slower and more dramatically than the other words in the poem. If you emphasize "My" it means my baby sister as opposed to yours. If you emphasize "baby" it may mean your baby sister as opposed to your older sister.
4. Discuss how the meaning of the poem changes as different words are emphasized.
5. You can decide which words to emphasize as you practice other poems to present in class, too. You can underline these words so that you can identify these words as you practice your poems.
Exercise 2:
Many students speak too quickly when presenting poems in front of the class or an audience. Your pilch and volume can vary more when you slow down your rate of speech.
1. Use the following poem by Bruce Lansky for this exercise: I'd Rather
I'd rather wash the dishes I'd rather kiss a frog. I'd rather get an F in math or run a ten-mile jog.
I'd rather do my homework. I'd rather mow the lawn. I'd rather take the garbage out. I'd rather wake at dawn.
I'd rather dine on Brussels sprouts or catch the chicken pox. I'd rather do most anything than clean the litter box.
2. Read the poem slowly, much slower than you would if you were actually presenting to the class.
3. Now read the poem quickly. Tell then to read it as quick as you possibly can.
4. Discuss the effectiveness of both readings.
5. Lastly, read the poem at a rate between fast and slow. Quick enough to maintain an interest of the listeners yet slow enough to enunciate each word clearly and at a pace which enables the reader to add emphasis through your pitch, volume, and rate.
6. Read the poem in pairs. The reading should take approximately seconds. Variations: You may want to break up your class into small groups to do this exercise or
assign it for homework to be done with friends participating.
Exercise 3:
Some poems require the use of different voices or characters. Students should practice these different voices. Try to overemphasize these voices during this exercise. If you exaggerate them
while practicing it is easier than to tone it down when you actually present the poem. It is very difficult, though, to effectively portray a character's voice when you have only practiced it silently or without much emotion or drama.
1. Use the following poem by Bruce Lansky for this exercise: Where My Clothes Are
Dirty clothes should be put in the hamper. Clean clothing belongs in the drawer. But it takes too much time and it takes too much work-so I throw them all over the floor.
2. Pair up and practice reading the poem to each other.
Read the first two lines in the following voices, followed each time by the last two lines in your own voice.
A. Their own mother or father.
B. A really mean or strict person.
C. With an accent of their choice.
D. With a really sassy voice.
E. With a rally bored voice.
F. With a cheerful voice.
G. With a scientist's voice. H. With an artist's voice,
I. With a police officer's voice. J With an opera singer's voice.
Tip: Have fun with this exercise. You can vary your volume, pitch and rate greatly. Try to over exaggerate and be as dramatic as possible.
Exercise4:
Here is another exercise designed to increase emotion through your voice.
1. Say the words "What's So Funny" using the following emotions: Happy Angry Afraid Surprised
Sad Jealous Apologetic Shy
2. Read the following line from Bruce Lansky's poem, "What's So Funny?" 1 notice people staring at me everywhere I go.
Now read the same line above, but mean the following things: A. You're mad that people are staring at you.
B. You're sad that people are staring at you.
C. You're glad that people are staring at you.
D. You're nervous or anxious that people are staring at you.
E. You're embarrassed that people are staring at you.
F. You're surprised that people are staring al you.
G. You're suspicious of people that are staring at you. H. You're tired of people staring at you.
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