Detailed Directions

Read the following dialogues with your own intonation laying stress-tone marks according to the rules. Use the High Fall, the High Rise, the Rise-Fall and the Fall-Rise in the dialogues. Explain, what meanings these nuclear tones convey.

1. - How’s your father keeping? - He’s been off work for a day or two. - What’s wrong with him? - He’s gone down with a cold. - Tell him I hope he soon feels better. - That’s very kind of you. I’ll pass it on.	2. - How’s your brother these days? - My brother? He hasn’t been too well just recently. - I’m sorry to hear that. What’s the matter? - I think he’s been overworking. - I hope he soon gets over it. - Thank you. He’ll be pleased to hear you asked after him.
3. - Where’s Tony this evening? - He’s not feeling very well. - Really? What’s the trouble? - I think he must have eaten something. - Give him my regards and tell him to take things easy. - Thank you very much. I’ll tell him what you said.	4. - I haven’t seen Bob lately. How is he? - As a matter of fact, he’s laid up. - Oh, dear. What’s up with him? - We don’t know. But we are having the doctor in tomorrow. - Let me know if there’s anything I could do. - Thanks very much. I’ll tell him you inquired about him.

8. Read the text below. Transcribe the words in bold. Imagine that you are a doctor, and your partner is a hypochondriac. Make up and present your own dialogue in a role-play using the words in bold. Make your speech emotional by using the High Fall, the High Rise, the Rise-Fall and the Fall-Rise.

Hypochondriacs (V. Evans, p. 105)

There are people who spend years suffering from an illness which doctors are not usually sympathetic towards. Hypochondria is a medical term which describes a highly abnormal level of worry about health. Sufferers regularly visit their doctors with complaints of serious symptoms which doctors cannot explain.

Hypochondriacs are always pessimistic about their health and often imagine that they are suffering from dangerous or incurable diseases. They waste the valuable time of doctors when really they are perfectly healthy. Sufferers can be also taught to control their anxiety through relaxation techniques.

9. Read and make a poetic translation of this poem into Ukrainian or Russian. Learn the poem by heart.

Leisure (Карневская, с. 272)

By W.H. Davies

What is this life, if full of care,

We have no time to stand and stare!

No time to stand beneath the boughs,

And stare as long as sheep and cows.

No time to see, when woods we pass,

Where squirrels hide their nuts in grass.

No time to see in broad daylight

Streams full of stars like skies at night.

No time to turn at Beauty’s glance,

And watch her feet, how they can dance.

No time to wait till her mouth can

Enrich that smile her eyes began.

A poor life this if, full of care,

We have no time to stand and stare.

Unit 1. Travelling

1. Listen to the dialogue between Matthew and Laura. Practice it with a partner. Pay special attention to the linking r sounds. Comment on the intonation of parentheses in the dialogue (Headw. P. 14)

Laura Matthew Laura Matthew Laura Matthew Laura Matthew Laura

Matthew! Are you going anywhere over Easter this year? Well, yes, as a matter of fact, we are. We’re off on a tour of Italy for a weak or two. Mmm. That sounds great! Where exactly will you be going? Oh, here and there. Rome’s more or less definite, but we’re open to suggestions. Are you travelling by coach? No, by car, actually. When you’re in Rome, you must throw a coin over your shoulder into the Trevi fountain. Really? What for? It means, sooner or later, you’re sure to return.

2. Listen to the following dialogue. What types of questions are used here? What is their typical intonation? Comment on the intonation of direct address. Learn the dialogue and practice it with a partner. Transcribe the sentences in italics and draw tonograms to them. Name the means of intonation used on this dialogue.

Sea or Air (p. 26)

Susan Julie Susan Julie Susan Julie Susan Julie Susan Julie

Are you ˈlooking ˈforward to your ˈtrip to ˎCanada, ˏJulie?|| ˈI can’t ˈˈwait to see ˎCanada, ˌSusan,| but I’m ˈscared ˈstiff of the ˋjourney.|| ̅My ˈhusband in↑sists on ˎflying,| but ˈI want to ˎsail.|| ˎ Planes| ↷ make ↷ me ˎnervous.|| There’s ˈnothing to be ˎfrightened ˏof.|| ˈHow many ˎplanes| ˈfly aˈcross the Aˈtlantic ↑every ˎday?|| ̅I’ve ˌno iˋdea.|| ˋHundreds,| I su ̬ppose.|| And how ˌoften do you ˌhear of a ˏcrash?|| ˈOnce or ˈtwice a ˏyear?|| ˋYes,| but the ˈaeroplanes ˎfly| ˈso ˈhigh and ˎfast| that ˎonce| is eˋnough.|| ˎLook,| there are ˈmore ˎroad ˌcasualties| per ˎday| than ˈair ˈdeaths per ˎyear.|| ˎAir ˌtransport| is ˈreally ˎsafe| comˈpared with ˎroad ˌtransport.|| I’d ˈstill preˎfer| to ˈgo by ˎsea.|| ˎShips| ˈmay not ˎtravel ˏfast,| but at ˈleast you can reˎlax.|| I’dˈˈ love aˈ trip on a ˎluxuryˏ liner| like the ˈQueen Eˈlizabeth ˏII.|| It’s ˎfine| if you’re a ˈgood ˎsailor,| but have you ˈever ˈtraveled ˎfar| in a ˈrough ˎsea?|| ˎNo,| I’ve ˏonly ˋbeen in a ˌboat ˎonce.|| I ˈsailed ˈdown the River ˎThames| on a ˎsightseeing ˌtour…|| But in ˈany ˏcase| I’d ˈrather be ˋseasick| than ˎdead.||

3. Listen to the dialogue. Find sentences with enumeration and adverbials. What is the typical intonation in them? What tempo and scales are used in the dialogue? What phonostyle is it in? Lay stress-tone marks on the second part of the text, learn the dialogue and practice it with a partner. Transcribe the sentences in italics and draw tonograms to them. Name the means of intonation used on this dialogue.

Charles   Bob   Charles   Bob     Charles   Bob Charles     Bob     Charles   Bob

ˎHarpole| ˈ7ˈ4ˈ5ˏ3.|| Heˎllo, ˏCharles.|| ˈThis is ˎBob.|| You were ˈquite ˎright in your ˏletter;| ˈvery ˈfew ˎpeople| have ˈany iˎdea| where ˈHarpole ˎis.|| I’ve →asked| half a ˎdozen ˌpeople| ˈso ͵far| wˈithout suˎccess.|| I ˎguessed you’d have ˏdifficulty.|| ˈWhere are you ˎnow?|| I’mˈ in a ˎtelephone ˏbox,| ˈoutˈside a ˎpost-ˏoffice,| at a ˎcrossˏroads| about a ˎmile| from the ˈend of the ˎmotorway.|| ˈO.ˎK.|| ˈListen ˎcarefully ˌthen.|| ˈ Carry ˈon aˈlong the ˈroad toˈwards ˎPortsmouth| unˈtil you go ˈdown a ˈsteep ˎhill.|| ˈTake the ˈturning to the ˎleft| at the ˎbottom of the ˎhill| – there’s a ˈpub ˈcalled “The ↑Green ˎMan”| on the ˎright,| ˈjust beˈfore the ˎturning.|| ̅I’ve ˎgot ˏthat.|| ˎGo ˏon.|| The road winds through a small village, over a bridge across a river and then under a railway. Just after the railway bridge the road forks; take the left hand fork… ˈSlow ˎdown a ˏbit.|| I’m ↗ trying to ↗ write ↗ this ˋdown.|| I’ll ↷ never re ↷ member ↷ all ˎthat.|| I’ve nearly finished. After about a mile you’ll drive through a wood and, as you come out of the wood, turn right and go up the hill to Harpole. Manor Road is the second turning on the left, and our house is at the end on the right. You’ll see my car, the dark blue Rover, parked outside. I suppose I’ll find it, but if I’m not there by midnight send out a search party!

4. Listen to the report about travelling. What phonostyle is it in? Name phonostylistic peculiarities of this text (tempo, scales, etc.). Lay stress-tone marks and learn it by heart.

(p.27)

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