By Dorothy M. Chun
Based on significant shifts in emphasis in either normal and utilized linguistics, this article approximately intonation has major pursuits. to begin with to teach the sensible value of intonation, fairly discourse intonation, that's said in theoretical linguistics as an quintessential component to language and conversation and which hence needs to be taught to L2 newcomers. Secondly to combine conception and perform with a view to render intonation obtainable to academics and pedagogues, and to signify a pedagogical method of the educating of discourse-based phonology and intonation in L2 guide.
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Extra resources for Discourse Intonation in L2: From Theory and Research to Practice (Language Learning and Language Teaching, V. 1)
278). In this chapter, the major theories of intonation will be summarized, starting with traditional, formbased tune and tone theories, moving to generative models (several of them integrated with instrumental or acoustic phonetic analyses), and concluding with discourse-based approaches. (For the history of studies in English intonation, cf. ) Based on a critical analysis of underlying theories, the Wnal section of this chapter proposes a theoretical model upon which to base an integration of theory with language instruction, which in turn will be expanded upon in the third part of this book.
112): …it is not pitch rise, but rather pitch prominence that is essential to what we react to as stress. By prominence I mean a rapid and relatively wide departure from a smooth or undulating contour. A rise is only one kind of pitch prominence, though it is certainly the commonest kind. , the kind of patterns that are said to be gradient rather than discrete in structure and use. Examples of gradient intonational patterning are: steep falls as opposed to gradual falls, the relative height of the accent peaks or troughs and terminal junctures, which also involve pitch movements.
In the Wrst sentence below, which is an example of falling intonation, the Wrst contour point is marked °2 and occurs on want- while the second contour point is marked 4 and occurs on it. In the second sentence, an example of rising intonation, the Wrst contour point, marked °4, again occurs on want- and the intonation rises to level 1 on it. He wanted to do it. °2– –4 / He wanted to do it? 3– °4– –1 / With regard to the meaning of primary contours, Pike (1945) states “All falling contours have a meaning of contrastive pointing.
Discourse Intonation in L2: From Theory and Research to Practice (Language Learning and Language Teaching, V. 1) by Dorothy M. Chun