ENGL224 Fonetica y Fonologia Inglesa IV

FACULTAD DE EDUCACIN
Nombre de curso Cdigo Carrera
PROGRAMACIN CLASE A CLASE : FONTICA Y FONOLOGA INGLESA IV : ENGL224 : Pedagoga en Ingls
Desarrollo de las sesiones Sesin N1 Descripcin de la Sesin: Como primer punto, en esta sesin se presentar el programa de la asignatura, su planificacin, objetivos y sistema de evaluacin semestral. El objetivo de la primera clase es realizar un anlisis respecto del ritmo del ingls.
Lectura Previa:
RHYTHM (1) In English some types of words are regularly unstressed in connected speech. Those words which are stressed will of course only have a stress on certain syllables in most cases on only one syllable. Overall, in connected speech this means that there will be a large number of unstressed syllables together with a more limited number of stressed syllables. English is often described as a stress-timed language. What this means is that a general rule of English rhythm is that we take an equal amount of time from one stressed syllable to the next, i.e. that English rhythm has an isochrony based on stresses. This is illustrated in the following example: 'Whats the 'difference between a 'sick 'elephant and a 'dead 'bee? I shall call the stretch of utterance from one stressed syllable to the next a rhythm-group (foot). Notice in the above example that the number of syllables in each rhythm-group varies considerably: 2, 5, 1, 5, 1, 1. The theory of stress-timing holds that there is a tendency in some languages (English being one) for rhythm-groups to be of approximately equal duration. If this is the case, then the five syllables of the second rhythm-group in the above example will be said in roughly the same amount of time as the single syllable of the third rhythm-group. It should not, however, be thought that all the syllables within a rhythm group are of equal duration a stressed syllable is generally longer than an unstressed one, particularly if the latter has a reduced vowel. Here is another example: Theres a 'dreadful din 'coming from 'Dans 'workshop Starting from dread- there are 3, 3, 1 and 2 syllables in the rhythm-group. But we have so far not taken account of any unstressed syllables at the beginning of an utterance. In this case, there are two such syllables in Theres a. I shall call these syllables anacrusis. The general tendency in English is to produce syllables in an anacrusis with greater speed than any unstressed syllables within following rhythm-groups; hence also such syllables are extremely liable to be reduced. Taken from Intonation by Alan Cruttenden, pages 20-21. RHYTHM (2) Speech is perceived as a sequence of events in time, and the word rhythm is used to refer to the way these events are distributed in time. Obvious examples of vocal rhythms are chanting as part of games (for example, children calling words while skipping, or football crowds calling their team's name) or in connection with work (e.g. sailor's chants used to synchronise the pulling on an anchor rope). In conversational speech the rhythms are vastly more complicated, but it is clear that the timing of speech is not random. An extreme view (though a quite common one) is that English speech has a rhythm that allows us to divide it up into more or less equal intervals of time called feet, each of which
1 de 50 Asignatura: Fontica y Fonologa Inglesa IV
begins with a stressed syllable: this is called the stress-timed rhythm hypothesis. Languages where the length of each syllable remains more or less the same as that of its neighbours whether or not it is stressed are called syllable-timed. Most evidence from the study of real speech suggests that such rhythms only exist in very careful, controlled speaking, but it appears from psychological research that listeners' brains tend to hear timing regularities even where there is little or no physical regularity. English rhythm is said to exhibit isochrony because it is believed that it tends to preserve equal intervals of time between stressed syllables irrespective of the number of syllables that come between them. For example, if the following sentence were said with isochronous stresses, the four syllables 'both of them are' would take the same amount of time as 'new' and 'here': 'both of them are 'new 'here This kind of timing is also known as stress-timed rhythm and is based on the notion of the foot. Experimental research suggests that isochrony is rarely found in natural speech and that (at least in the case of English speakers) the brain judges sequences of stresses to be more nearly isochronous than they really are: the effect is to some extent an illusion. The notion of isochrony does not necessarily have to be restricted to the intervals between stressed syllables. It is possible to claim that some languages tend to preserve a constant quantity for all syllables in an utterance: this is said to result in a syllable-timed rhythm. French, Spanish and Japanese have been claimed to be of this type, though laboratory studies do not give this claim much support. It seems that in languages characterised as stress-timed there is a tendency for unstressed syllables to become weak, and to contain short, centralised vowels, whereas in languages described as syllable-timed unstressed vowels tend to retain the quality and quantity found in their stressed counterparts. Taken from A little encyclopaedia of Phonetics by Peter Roach. Preguntas de inicio: Qu tipos de ritmos tienen los idiomas espaol e ingls respectivamente? Qu es un grupo rtmico o pie (foot)?
Referencias Bibliogrfcas de la lectura previa: CRUTTENDEN, A. (1997). Intonation (2nd Ed.). New Cork: CUP. ROACH, P. (2009). Glossary A little encyclopaedia of phonetics. http://www.cambridge.org/other_files/cms/PeterRoach/PeterRoach_Glossary.pdf
Sesin N2 Descripcin de la Sesin: El objetivo que se pretende es reforzar en los estudiantes el uso de las formas fuertes y dbiles en ingls. Lectura Previa:
WEAK FORMS: GENERAL PRINCIPLES (PART 1)
Preguntas de inicio: Qu principios rigen el uso de las formas fuertes y dbiles en ingls? Qu factores son importantes para determinar el uso de las formas dbiles?
Referencias Bibliogrficas de la lectura previa: ORTIZ-LIRA, H. (2008). The 37 essential weak-form words. Universidad Metropolitana de Ciencias de la Ecuacin y Universidad de Santiago de Chile.
Sesin N3 Descripcin de la Sesin: El objetivo que se pretende es reforzar en los estudiantes el uso de las formas fuertes y dbiles en ingls. Lectura Previa:
WEAK FORMS: GENERAL PRINCIPLES (PART 2)
Preguntas de inicio: Qu principios rigen el uso de las formas fuertes y dbiles en ingls? Qu forma deben tomar las preposiciones antes de un pronombre?
Referencias Bibliogrficas de la lectura previa: ORTIZ-LIRA, H. (2008). The 37 essential weak-form words. Universidad Metropolitana de Ciencias de la Ecuacin y Universidad de Santiago de Chile.
Sesin N4 Descripcin de la Sesin: El objetivo que se pretende es introducir a los estudiantes a los conceptos de tonality y grupo entonacional. Lectura Previa: TONALITY
Preguntas de inicio: A qu se le denomina Tonality? Qu es un grupo entonacional? Cules son algunas de las reglas que rigen la divisin de un enunciado en IGs?
Referencias Bibliogrficas de la lectura previa: ORTIZ-LIRA, H. (2008). From Lexical to Intonational Transcription. UMCE & USACH, Santiago.
Sesin N5 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes los elementos propios de un grupo entonacional (IG). Lectura Previa: ELEMENTS IN AN INTONATION GROUP (IG).
Preguntas de inicio: Cules son los elementos que se pueden encontrar en un grupo entonacional? Cul es el nico de estos elementos que est siempre presente en un IG?
Sesin N6 Descripcin de la Sesin: El objetivo que se pretende es introducir a los estudiantes a la acentuacin post-lxica. Lectura Previa:
Sentence accent It is an aspect of post-lexical phonology which some authors ascribe to the area of accentuation and others to the area of intonation. According to the British tradition of prosody the nuclear accent is phonetically identified as the syllable starting the last pitch movement in an intonation group and, functionally, as the syllable that marks the beginning of the most meaningful portion of utterance. According to the British school of prosody, the nucleus is a feature of intonation which coincides with a stress; in the American school, the nucleus is mainly a feature of stress which may or not co-occur with pitch movement. Both approaches agree in terms of one basic notion, viz. the existence of a degree of accent which overpowers all other accents in the intonation-group. In the prosodic literature, the term sentence accent may be found as utterance -level accentuation or post-lexical accentuation. Nuclearity In general, a definition of nucleus can be classified into three main groups: i) Phonetic definitions concentrate on the type of prominence displayed by the nuclear syllable. For instance: a) the stressed syllable of the most prominent word. b) major pitch movement. c) the syllable carrying maximal prominence. d) the syllable at which a significant pitch movement begins.
ii) Distributional definitions refer to the position in the intonation group. They usually include the word last. For example: a) the last prominent syllable b) the last fully stressed syllable c) the last main accent d) the final accented syllable e) the rightmost of a number of assigned accents iii) Functional definitions, of a more phonological nature, say what the nucleus does: a) the primary cue to what the speaker considers the most important part of his utterance. b) the chief means of signaling the focus marking. c) a phonological reality that is relevant outside the area of pitch contours proper d) the location which determines whether a broad focus interpretation is possible.
Preguntas de inicio:
A qu se le denomina sentence accent? De qu modo se podra definir al ncleo de un grupo entonacional?
Referencias Bibliogrficas de la lectura previa: ORTIZ-LIRA, H. (2000). Cuaderno N 16: Word Stress and Sentence Accent. UMCE, Santiago.
Sesin N7 Descripcin de la Sesin: El objetivo que se pretende es introducir a los estudiantes a las reglas que rigen la acentuacin postlxica en ingls. Lectura Previa:
Preguntas de inicio: A qu se le denomina pitch accent? Qu relacin existe entre un acento lxico (stress) y uno contextual (accent)?
Sesin N8 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes la regla de tres (stress-shift). Lectura Previa:
Preguntas de inicio: A qu se le llama la regla de tres (stress-shift)? Qu tipo de palabras son las que pueden verse afectadas por stress-shift?
Sesin N9 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes el uso predicativo y atributivo de las palabras y sus patrones acentuales. Lectura Previa:
Preguntas de inicio: En qu contexto ocurre el llamado early accent? En qu contexto ocurre el llamado late accent?
Sesin N10 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes casos especiales en que se usa stressshift. Lectura Previa:
Preguntas de inicio: En qu expresiones tambin se puede encontrar stress-shift? Qu reglas rigen en cada caso?
Sesin N11 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes casos en los cuales el uso de stress-shift es menos comn. Adems, se explica la funcin que tiene un acento secundario despus de un acento primario.
Lectura Previa:
Preguntas de inicio: En qu casos el uso de stress-shift es menos comn? Qu funcin cumple un acento secundario despus de un acento primario?
Sesin N12 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes la relacin que existe entre los tipos de palabras y la acentuacin post-lxica. Lectura Previa:
Preguntas de inicio: Qu tipos de palabras incluye el grupo de temes lxicos? Qu tipos de palabras incluye el grupo de temes estructurales? Qu relacin existe entre estos tipos de palabras y la acentuacin post-lxica?
Sesin N13 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes la relacin que existe entre la informacin nueva / repetida y la acentuacin post-lxica. Adems, se introduce los tipos de foco presentes en un grupo entonacional. Lectura Previa:
Preguntas de inicio: Cules son los posibles tipos de foco a encontrar en un grupo entonacional? Qu relacin existe entre acentuacin post-lxica e informacin nueva o repetida?
Sesin N14 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes un tipo de foco angosto: foco contrastivo. Lectura Previa:
Preguntas de inicio: Cmo se podra explicar el foco contrastivo? Cundo se utiliza el foco contrastivo?
Sesin N15
Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes algunas excepciones a la regla del ltimo elemento lxico (LLI rule). Lectura Previa: EXCEPTIONS TO THE LLI RULE (PART 1)
Preguntas de inicio: A qu se le llama una excepcin a la regla del ltimo elemento lxico? Qu ocurre con los adverbios de tiempo y lugar en relacin a la acentuacin post-lxica?
Sesin N16 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes algunas excepciones a la regla del ltimo elemento lxico (LLI rule).
Lectura Previa: EXCEPTIONS TO THE LLI RULE (PART 2)
Preguntas de inicio: A qu elementos lxicos se les denomina semnticamente vacos? Qu ocurre con los verbos frasales en relacin a la acentuacin post-lxica?
Sesin N17 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes la diferencia que existe entre los idiomas tonales y los entonacionales. Lectura Previa: TONE VS. INTONATION LANGUAGES Pitch is used in many languages as an essential component of the pronunciation of a word, so that a change of pitch may cause a change in meaning. In other words, the linguistic function of tone is to change the meaning of a word: these are called tone languages. In tone languages, tone is phonemic, and thus minimal pairs distinguished by tone exist in such languages. In Mandarin Chinese, for example, / -ma / said on a high pitch means 'mother', while / 'hemp'. In other languages, tone forms the central part of intonation, and the difference between, for example, a rising and a falling tone on a particular word may cause a different interpretation of the sentence in which it occurs. These are called intonation languages, such as English. Intonation languages use the pitch of the voice to show the speakers attitudes, for example, to convey surprise and irony, or to change a statement into a question. In English, intonation patterns are on groups of words, which are called intonation phrases, tone units, intonation groups or sense groups. Preguntas de inicio: Cmo se define un idioma tonal? Cmo se define un idioma entonacional? ma / said on a low rising tone means
Referencias Bibliogrficas de la lectura previa: ROACH, P. (2009). Glossary A little encyclopaedia of phonetics. http://www.cambridge.org/other_files/cms/PeterRoach/PeterRoach_Glossary.pdf
Sesin N18 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes algunas de las funciones de la entonacin.
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THE FUNCTIONS OF INTONATION a) The attitudinal function: The most obvious role of intonation is to express our attitudes and emotions to show shock or surprise, pleasure or anger, interest or boredom, seriousness or sarcasm, and many others. We do this by tone. b) The grammatical function: Intonation helps identify grammatical structures in speech, rather as punctuation does in writing. We use intonation to mark the beginning and end of grammatical units such as clause and sentence (the demarcative function). We do this by tonality. We also use intonation to distinguish clause types, such as question vs. statement, and to disambiguate various grammatically ambiguous structures (the syntactic function). We do this mainly by tone. c) The focusing (also called accentual or informational) function: intonation helps to show what information in an utterance is new and what is already known. We use it to bring some parts of the message into focus, and leave other parts out of focus; to emphasize or highlight some parts and not others. We do this by tonicity and by the placement of other accents. This is one of the most important functions of English intonation, and perhaps the function most readily taught in the EFL classroom. We combine accentuation with the choice of tone to present some longer stretches of the message as constituting the foreground of the picture we paint, while leaving other stretches as background. These are pragmatic functions. d) The discourse (or cohesive) function: Intonation signals how sequences of clauses and sentences go together in spoken discourse, to contrast or to cohere. It functions like the division of written text into sentences and paragraphs. It enables us to signal whether or not we have come to the end of the point we are making; whether we want to keep talking or are ready to give another speaker a turn. e) The psychological function: Intonation helps us to organize speech into units that are easy to perceive, memorize and perform. We can all repeat an arbitrary string of three, four or five members, but not a string of ten unless we split them into two units of five. This is why we need tonality. f) The indexical function: Just as with other pronunciation features, intonation may act as a marker of personal or social identity. What makes mothers sound like mothers, lovers sound like lovers, lawyers sound like lawyers, clergymen sound like clergymen, newsreaders sound like newsreaders, officials sound like officials? Partly, their characteristic intonation.
Preguntas de inicio: Cules son las funciones de la entonacin? A qu se refiere cada una de estas funciones?
Referencias Bibliogrficas de la lectura previa: WELLS, J. (2006). English Intonation: An Introduction. Cambridge, CUP.
Sesin N19 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes los tipos de tonos ms comunes utilizados en el idioma ingls (parte 1).
Lectura Previa:
Preguntas de inicio: A qu se le llama pitch movement? Cul es la diferencia entre un high/low-fall y un high/low rise?
Sesin N20 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes los tipos de tonos ms comunes utilizados en el idioma ingls (parte 2).
Lectura Previa:
Preguntas de inicio: Cul es la diferencia entre un fall-rise y un rise-fall? Cmo se podra explicar un tono denominado mid-level?
Sesin N21 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes la descripcin de los tipos de tonos utilizados en ingls. Lectura Previa: TONE: GOING UP AND GOING DOWN (Wells, 2006: 15-68) FALL, RISE, AND FALL-RISE 1. Falls: In a fall nuclear tone the pitch of the voice starts relatively high and moves downwards. The starting point may be anywhere from mid to high. The endpoint is low. If the vowel in the nucleus syllable is short, or if this vowel is followed by a voiceless consonant, there may be insufficient time for the fall to be heard on the nuclear syllable itself. The effect is then one of a jump from a higher-pitched syllable (the nucleus) to one or more low-pitched syllables (the tail). The overall pitch pattern is still a fall. Examples: Pages 18-19. 2. Rises: In a rising nuclear tone the pitch of the voice starts relatively low and then moves upwards. The starting point may be anywhere from low to mid, and the end point anywhere from mid to high. If there is a tail (syllables after the nucleus), the rising pitch movement does not happen wholly on the nuclear syllable, as in the case of a fall. Rather, the rise is spread over the nuclear syllable and all the following syllables over the whole of the nucleus plus tail. This means that the last syllable is actually the highest pitched, even though it is unaccented. Examples: Pages 21-22. 3. Fall-rises: In a fall-rise nuclear tone, the pitch of the voice starts relatively high and then moves first downwards and then upwards again. The starting point may be anywhere from mid to high, the mid point is low, and the endpoint is usually mid. Examples: Pages 23-24. Preguntas de inicio: Qu ocurre con la voz en un tono denominado fall? Qu ocurre con la voz en un tono denominado rise? Qu ocurre con la voz en un tono denominado fall-rise?
Referencias Bibliogrficas de la lectura previa: WELLS, J. (2006). English Intonation: An Introduction. Cambridge, CUP. Sesin N22 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes el tipo de entonacin utilizado en enunciados declarativos. Lectura Previa: STATEMENTS
1. The definitive fall: A fall is the default (neutral, unmarked) tone for a statement. We say statements with a fall unless there is a particular reason to use some other tone. In general we can say that by using a fall we indicate that what we say is potentially complete and that we express it with confidence, definitely and unreservedly. The fall thus also tends to signal finality. We call this tone meaning the definitive fall. Examples: Pages 25-26 2. The implicational fall-rise: One very typical meaning of a non-fall is non-finality. It shows that the speaker has not reached the end of what he or she wants to say. By making a statement with the fall-rise, the speaker typically states one thing but implies something further. Something is left unsaid perhaps some kind of reservation or implication. The fall-rise implies something further: a contrast between what is expressed and what has not, or not yet, been expressed. Thus, the implicational fall-rise can be thought of as the tone that signals a but to come. A speaker who uses a fall-rise has reservations about what is said. The speakers statement may be true under some conditions, but not under others The implicational fall-rise enables us to imply things without saying them. It makes it possible to be tactful and politely indirect; it also makes it possible to be hypocritical and devious. The fall-rise can also be used to signal that the speaker is tentative about what he or she says. The speaker makes a statement but at the same time implies something like but Im not sure or but I dont want to commit myself to this. The fall-rise tone has a special function in a negative sentence. Namely, it indicates that the scope of negation includes the word bearing the nucleus, but not the main verb (unless the main verb itself bears the nucleus). A falling tone, on the other hand, does not restrict the scope of the negation in this way.
Listen to the following examples and then practice: i) I 'wont eat anything. (= Ill eat nothing.) ii) I 'wont eat anything. (= Ill eat only certain things.) iii) She 'didnt do it because she was tired. (= She did it, but for some other reason.) iv) She 'didnt do it | because she was tired. (= She didnt do it. Heres why.) Examples: Pages 27-35 3. Declarative questions: They are grammatically like statements. They can be identified as questions only by their intonation or by the pragmatics of the situation where they are used. They are usually said with a rise: a yes-no rise. Examples: Page 36 4. Yes, no and elliptical answers: The answer to a yes-no question is usually not a complete statement. Rather, it is just yes or no (or an equivalent). Quite often we support the yes or no by an elliptical verb phrase. Moreover, to contradict what the other person says, it is possible to use a definitive fall or a tentative fall-rise; but the most usual tone is a rise. Examples: Pages 38-41 Preguntas de inicio: Cundo se utiliza un definitive fall?
Cundo se utiliza el implicational fall-rise? Cundo se utiliza el yes-no rise?
Sesin N23 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes el tipo de entonacin utilizado en enunciados interrogativos. Lectura Previa: QUESTIONS 1. Wh questions: (= question-word questions) are those that are formed with a questions word such as who, what, which, when, where, why, how. They ask for a more specific answer than just yes or no. The default tone for wh questions is a fall. As with statements, this tone meaning is the definitive fall. Nevertheless, a wh question can also be said with a non-fall: a rise or, less commonly, a fall-rise. This has the effect of making it more gentle, kindly, encouraging, sympathetic or deferential, as opposed to the businesslike fall. We call this tone the encouraging rise. Examples: Pages 42-45 2. Yes-no questions: (= general questions, polar questions) ask whether something is the case or not. Such questions are capable of meaningfully being answered yes or no (though there may be other possible answers such as perhaps or Im not sure). The default tone for a yes-no question is a rise. We call it the yes-no rise. It is also possible for a yes-no question to be said with a fall. This makes the question more insistent. It is more businesslike, more serious, perhaps more threatening. We call this tone meaning for yes-no questions the insistent fall. Examples: Pages 45-48 3. Tag questions: (= question tags) are short yes-no questions tagged onto the end of a statement or command. Most tag questions can be said either with a fall or with a rise, and there is an important difference of tone meaning between these two possibilities. If a tag question is genuinely asking for information, the tone will be a yes-no rise. This allows the speaker to check whether the other person agrees with what he or she has just said.
The other possibility is an insistent fall. With a falling tag the speaker insists, assumes or expects that the other person will agree. Rather than genuinely asking for information, the speaker appeals for agreement. Examples: Pages 48-49 4. Checking: If while you are speaking you want to check whether you have said the right thing, or whether your hearer has understood what you said, you can use an interjection such as OK? Or right? These interjections are a kind of yes-no question, and are accordingly usually said with a yesno rise. To ask another speaker to repeat something because you did not hear it properly, you can say What? Or Sorry? Or Pardon?, with a rise. We call this tone meaning a pardon-question rise. With a pardon question you can query either the entire previous utterance or just one element in it. An echo question uses some or all of the same words as used by the previous speaker, but with a pardon-question rise. This may be a simple request for repetition or clarification, or it may also
express surprise and amazement at what the other speaker has said. Examples: pages 54-58 Preguntas de inicio: Qu tipo de tono se utiliza con los enunciados del tipo Wh questions? Qu tipo de tono se utiliza con los enunciados del tipo tag questions?
Sesin N24 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes el tipo de entonacin utilizado en enunciados especiales. Lectura Previa: OTHER SENTENCE TYPES 1. Exclamations: (= expressions of surprise, anger or excitement) virtually always have a fall. We call this tone meaning the exclamatory fall. It can be seen as a sub-type of the definitive fall. Examples: Pages 59-60 2. Commands: The default tone for commands is the definitive fall. In short commands (as with statements) a rise is often used to encourage the other speaker to continue. For warnings we often use an implicational fall-rise. Moreover, like negative statements, negative commands often have a fall-rise without necessarily implying a warning. The differences in these tone meanings can be seen when we compare them on the same sentence: i) Now 'move a long, please. (firm, authoritative) ii) Now 'move a long, please. (urgent, warning) iii) Now 'move a long, please. (routine, friendly) Examples: Pages 61-64 3. Interjections and greetings: The categories of interjection and exclamation partly overlap. SO, not surprisingly, the default tone for interjections is an exclamatory (or definitive) fall. However, many short interjections can be said with an encouraging rise, inviting the other person to speak or to continue speaking. In calling someone by name, we normally use a rise or fall-rise if trying to get their attention. A fall, on the other hand, is a straightforward greeting (or, of course, an exclamation). Examples: Pages 65-68 4. Adverbials: Adverbs and adverbial phrases that qualify a whole clause or sentence (rather than qualifying just one word) often have their own intonation phrase. If placed at the beginning, they usually have a leading non-final fall-rise (or rise). If placed at the end, they tend to have a trailing rise. Examples: Pages 78-80 Preguntas de inicio: Qu tipo de tono se utiliza con los enunciados del tipo exclamations? Qu tipo de tono se utiliza con los enunciados del tipo commands?
Sesin N25 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes un resumen sobre las tres Ts revisadas en las clases previas. A saber: tonality, tonicity, and tone (parte 1).
Lectura Previa:
Preguntas de inicio: Cules son y cmo se definen las tres Ts? A qu se refiere un enunciado con tonicidad neutra o por defecto?
Referencias Bibliogrficas de la lectura previa: Phonetics Group (2006). XI Seminar on English Phonetics. UMCE, Santiago.
Sesin N26 Descripcin de la Sesin: El objetivo que se pretende es presentar a los estudiantes un resumen sobre las tres Ts revisadas en las clases previas. A saber: tonality, tonicity, and tone (parte 2).
Lectura Previa:
Preguntas de inicio: Cules son los dos tipos de tonos que se pueden encontrar en un IG? Qu implicancia tiene un tono denominado non-fall?
Sesin N27 Descripcin de la Sesin: El objetivo que se pretende es hacer que los estudiantes practiquen el uso de las tres Ts en contextos semi-reales (parte 1).
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2. A conversation
Preguntas de inicio: Dnde deberan ir las divisiones para cada grupo entonacional? Qu slabas deberan ir acentuadas en cada IG? Qu tono debera ser utilizado en el ncleo de cada IG?
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ENGL224 Fonetica y Fonologia Inglesa IV

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FACULTAD DE EDUCACIN

Nombre de curso Cdigo Carrera

PROGRAMACIN CLASE A CLASE : FONTICA Y FONOLOGA INGLESA IV : ENGL224 : Pedagoga en Ingls

2 de 50 Asignatura: Fontica y Fonologa Inglesa IV

WEAK FORMS: GENERAL PRINCIPLES (PART 1)

3 de 50 Asignatura: Fontica y Fonologa Inglesa IV

4 de 50 Asignatura: Fontica y Fonologa Inglesa IV

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WEAK FORMS: GENERAL PRINCIPLES (PART 2)

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A qu se le denomina sentence accent? De qu modo se podra definir al ncleo de un grupo entonacional?

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Lectura Previa: EXCEPTIONS TO THE LLI RULE (PART 2)

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Cundo se utiliza el implicational fall-rise? Cundo se utiliza el yes-no rise?

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