1. Rhythm Connected Speech Intonation RHYTHM OF ENGLISH Eka Andriyani, S.Pd., M.Hum 2. SEVERAL IMPORTANT FEATURES OF SPOKEN ENGLISH: STRESS RHYTHM CONNECTED SPEECH INTONATION 3. A. RHYTHM The rhythm of English is largely determined by the beats falling on the stressed syllables of certain words in utterances. The pattern of strong or weak stress and long or short pronunciation gives English its rhythm. 4. If there are some unstressed syllables, the unstressed syllables will be spoken faster, so that the speaker can keep the rhythm. The time it takes to say something in English depends on the number of stressed syllables, not the number of syllables. 5. One Two Three Four 4 Five Six Seven Eight 5 Nine Ten Eleven Twelve 6 Thirteen Fourteen Fifteen Sixteen 8 Seventeen Eighteen Nineteen Twenty 9 Number of Syllables Look at the following words. To practice getting the beat and rhythm of English, try counting from one to twenty. Tap with your finger on a table as you count the numbers. Keep the tapping equally spaced. 6. Practice the beat and rhythm again. Try tapping with your finger on a table while saying the following sentences: Bob ate some corn. (4 syllables) Tommy has gone to France and back. (8 syllables) The Americans are buying some souvenirs and posters. (15 syllables) 7. B. CONNECTED SPEECH Connected speech is a continuous sequence of sounds forming utterances or conversations in spoken language. In other words, we can describe connected speech as a general term for the adjustment that native speakers make between words, linking the words, so that they become easier to pronounce. 8. 1 Weak Forms 2 Assimilation of Place of Articulation 3 Yod Coalescence 4 Elision 5 Assimilation of Voicing 6 R-Linking 7 The Glottal Stop Aspects of Connected Speech: 9. 1. Weak Forms When we talk about weak forms in the phonetics of English this regards a series of words which have one pronunciation (strong) when isolated, and another (weak) when not stressed within a phrase or sentence. Examples: you and I [ ju: nd a ] [ ju: nd a ] I can do it [a kn du: t] [ a kn du: t ] 10. Weak forms are usually distinguished by a change in vowel quality from a border position on the vowel quadrilateral to a central position. The vowel in a weak form is usually the schwa (//). The change of position of vowel production the articulation of weak forms 11. In order to comprehend the mechanisms of assimilation, some comprehension of the production of speech sounds is needed. 2. Assimilation of Place of Articulation 12. For instance, in the phrase ten cars, the /n/ will usually be articulated in a velar position. [ten k:(r)z] [te k:(r)z] So that the organs of speech are ready to produce the following velar sound /k/. Similarly, in ten boys, the /n/ will be produced in a bilabial position to prepare for the articulation of the bilabial /b/. [ten bz] [tem bz] 13. BEFORE A VELAR /k/, /g/ PHONEME REALIZED AS EXAMPLE /d/ /g/ Good girl [gg g:l] /t/ /k/ That kid [k kd] BEFORE A BILABIAL /m/, /b/, /p/ PHONEME REALIZED AS EXAMPLE /n/ /m/ Ten men [tem men] /d/ /b/ Bad boys [bb bz] /t/ /p/ Hot mushroom [hp mrm] The most common form involves the movement of place of articulation of the alveolar stops /t/, /d/, /n/ to a position closer to that of the following sound. 14. Yod is the name of the smallest letter of the Hebrew alphabet it stands for the vowel /i:/ or the semi-vowel /j/. In English phonetics, Yod coalescence is a form of assimilation, a phenomenon which takes place when /j/ is preceded by certain consonants. 3. Yod Coalescence 15. /d/ + /j/ = /d/ Examples: Could you help me?[kd ju: help m] [kdu: help m] Would you come? [wd ju: km] [wdu: km] Examples: What you need [wt ju: ni:d] [wtu:ni:d] Last year [l:st j(r)] [l:st(r)] /t/ + /j/ = /t/ 16. /z/ + /j/ = // /s/ + /j/ = // Example: I miss you [a ms ju:] [a mu:] Example: Because you like it [bkz ju: laik t] [bku: laik t] 17. Identify places where Yod Coalescence may occur in the following phrases: 1. What you need is a good job! 2. You told me that you had your homework done. 3. She didnt go to France that year. 4. Could you open the window, please? 5. Youve already had yours! 1. What you need is a good job! 2. You told me that you had your homework done. 3. She didnt go to France that year. 4. Could you open the window, please? 5. Youve already had yours! 18. Elision is very simply the omission of certain sound (sounds) in certain contexts. The most important occurrences of this phenomenon regard: (1) Alveolar consonants /t/ and /d/ when attached between two consonants (C - /t/ - C) or (C - /d/ - C), e.g: The next day. [ nekst de] [ neks de] The last car. [ l:st k:(r)] [ l:s k:(r)] Hold the dog! [hld dg] [hl dg] Send Frank a card. [send frk k:(r)d] [sen frk k:(r)d] 4. Elision 19. This can also take place within affricates /t/ and /d/ when preceded by a consonant, such as: Lunchtime [lnt tam] [lntam] Strange days [strend dez] [strendez] (2) Involves the omission of the /e/ or the schwa // before approximant /r/ or lateral /l/, e.g.: Examples: secretary [sekrteri] [sekrtri] camera [kmr] [kmr] memory [memri] [memri] buffalo [bfl] [bf l] 20. The vibration of the vocal cords is not something that can be switched on and off very swiftly, as a result, group of consonants tend to be either all voiced or all voiceless. 5. Assimilation of Voicing 21. EXAMPLES: 1. Have to [hv tu:] [hftu:] [hz tu:] [hstu:] 2. Used to [ju:zd tu:] [ju:stu:] 3. Supposed to [spzd tu:] [spstu:] 22. The phenomenon o R-Linking is based on the fact that, by default, in Standard British English (though not in many other accents of English), /r/ in the final syllable position is not pronounced. Examples: car [k:(r)] care [ke(r)] father [f:(r)] 6. R-Linking 23. The glottal stop phenomenon refers to the glottal replacement, where final syllable /t/ between two vowels is replaced by the glottal //. Examples: Football [ftb:l] [fb:l] Hit them [ht m] [hm] Fitness [ftns] [fns] Utmost [tmst] [mst] Quite well [kwat wel] [kwawel] 7. The Glottal Stop 24. C. INTONATION 25. Say hello to ... - a friend you meet regularly; - a friend you havent seen for a long time; - neighbour you dont like; - a baby of six months; - someone doing what he shouldnt; - a friend on the phone; - know if someone is listening you. 26. Linguistic feature which is considered as: PROF. JULIO REYES this set of musical pitch levels serve to distinguish between questions, statements, and other types of utterances in a language. The sequence or arrangement of musical pitch levels (pitch patterns) occurring in an utterance. Intonation 27. Pitch refers to the normal melodic height of an individuals speech. It is like a degree of highness or lowness of ones speech. In other words, the intonation of a sentence is the pattern of pitch changes that occurs. (Intonation = pitch pattern) 28. Although we employ many degrees of pitch in speaking, we use only four levels of relative pitch. They are: 4 extra-high 3 high 2 normal 1 low This is to say, the normal pitch of speaking voice, whatever its actual height, is called level 2; and from this, we make various upward and downward. 29. Consider the differences between : You're leaving. You're leaving? 2 3 1 You're leaving. (statement) 2 1 3 You're leaving? (question) 30. Questions?