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English Stress and
Intonation
Ms. Quiñones, Lehigh University
English
Intonation
+
Overview
• Stress
• Tone
• Pitch
+
Stress
+
Intonation Units
An 'intonation unit' is a piece of utterance, a
continuous stream of sounds, bounded by a
fairly perceptible pause. (Celik)
This is also known as a “thought group”
 Ex. “the very special man” or “pedaled quickly” or
“which was late”
+
Intonation and Stress
’Stress' applies to individual syllables, and
involves, most commonly, loudness, length,
and higher pitch (Roach, 1983:73)
+
Stress
More Information, Less Predictability =
Higher Stress on that Word
The word(s) that informs the hearer the most
is usually the most emphasized.
 These are called “content” words
+
Stress: Content & Function Words
 verbs
 nouns
 adjectives
 adverbs
 question words (wh-,
how)
 modal auxiliaries
 articles
 conjunctions
 prepositions
 pronouns
Content Words Function Words
+
Types of Stress
There are 4 main types of stress
 Unmarked tonic stress
 Emphatic stress
 Contrastive stress
 New information stress
+
Tonic Stress
An intonation unit almost always has one
peak of stress, which is called 'tonic
stress', or 'nucleus'.
Tonic stress is almost always found in a
content word in an utterance’s final position.
Ex. Tonic syllable is underlined: I'm going.
 I'm going to London.
 I'm going to London for a holiday.
+
Emphatic Stress
 One reason to move the tonic stress from the
final position is to assign an emphasis to a
content word, usually a modal auxiliary, an
intensifier, an adverb, etc.
 Compare the following examples adapted from
Roach (1983:144).
 i. It was very BOring. (unmarked)
ii. It was VEry boring. (emphatic)
 i. You mustn't talk so LOUDly. (unmarked)
ii. You MUSTN'T talk so loudly. (emphatic)
+
Intensifying Adverbs and Modifiers
 indeed
 utterly
 absolute
 terrific
 tremendous
 awfully
 terribly
 great
 grand
 really
 definitely
 truly
 literally
 extremely
 surely
 completely
 barely
 entirely
 very
(adverb)
 very
(adjective)
 quite
 too
 enough
 pretty
 far
 especially
 alone
 only
 own
 -self
+
Contrastive Stress
 In contrastive contexts, any word or syllable can
receive the tonic stress. Key word = contrast.
 Consider the following examples:
 a) Do you like this one or THAT one?
b) I like THIS one.
 Consider the following sentences and their
meanings:
 She played the piano yesterday. (It was her who...)
 She played the piano yesterday. (She only played (not
harmed) ...)
 She played the piano yesterday. (It was the piano that...)
 She played the piano yesterday. (It was yesterday...)
+
New Information Stress
 In a response given to a wh-question, the new
information supplied is stressed.
 a) What's your NAME
b) My name's GEORGE.
 a) Where are you FROM?
b) I'm from WALES.
 a) Where do you LIVE
b) I live in BONN
 a) When does the school term END
b) It ends in MAY.
 a) What do you DO
b) I'm a STUdent.
+
Tone
+
Types of Tones
fall
low-rise
high-rise
fall-rise
+
Example- Types of Tones
+
Fall (A Falling Tone)
signals a sense of finality, completion, belief
in the content of the utterance, and so on.
A speaker, with a falling tone, also indicates
he is done speaking, and offers a chance
(turn-taking) for the addressee to respond.
 The choice to respond lies with the addressee
+
Uses of Falling Tone
Simple statements:
 I'll report you to the HEADmaster
Referring expressions:
 I've spoken with the CLEAner.
Questions that begin with wh-questions:
 Where is the PENcil?
 Imperative statements:
 i) Go and see a DOCtor.
ii) Take a SEAT.
+
Uses of Falling Tone
 Requests or orders:
 i) Please sit DOWN
ii) Call him IN. Exclamations: Watch OUT!
 Yes/No questions and tag questions seeking or
expecting confirmation:
 a) You like it, DON'T you?
b) YEES.
 In a Yes/No question, speaker knows or
assumes they know the answer:
 a) Have you MET him?
b) YES.
+
Low Rise (A Rising Tone)
 This tone is used in genuine 'Yes/No' questions
where the speaker is sure that he does not know
the answer, and that the addressee knows the
answer.
 Consider the following question uttered with a
rising tone, the answer of which could be either
of the three options:
 A) Isn't he NICE?
 B) i) Yes.
ii) No.
iii) I don't know.
+
Low Rise
Other examples which are uttered with a
rising tone are:
 Do you want some COFfee?
 Do you take CREAM in your coffee?
+
High Rise (A Rising Tone)
If the tonic stress is uttered with higher pitch,
we may think that the speaker is asking for a
repetition or clarification, or indicating
disbelief.
 a) I'm taking up TAxidermy this autumn.
b) Taking up WHAT? (clarification)
 a) She passed her DRIving test.
b) She PASSED? (disbelief)
+
Fall Rise (followed by Fall)
 Fall-rise signals dependency, continuity, and non-
finality (Cruttenden, 1986:102)
 Generally used in 'dependent' clauses such as those
involving adverbs, subordinate clauses, compound
sentences, and so on.
 It generally occurs in sentence non-final intonation units.
 Consider the following (the slash indicates a pause):
 Private enterPRISE / is always EFficient.
 A quick tour of the CIty / would be NICE.
 PreSUmably / he thinks he CAN.
 Usually / he comes on SUNday.
+
Combinations
 Fall-rise + Low Rise
 Typically this tone pattern involves a dependent clause
followed by a Yes/No question.
 If I HELPED you / would you try aGAIN?
 Despite its DRAWbacks / do you favor it or NOT?
 Fall + Fall
 When the speaker expects or demands agreement
 It's a bit TOO good to be true / ISN'T it?
 When reinforcing w/ adverbials as an expression of
after-thought.
 Ann said she'd help as much as she COULD / NATUrally.
+
Pitch and Pitch Range (Key)
+
Pitch Range
High
Low
+
High Pitch
Used for
 exclamation
 contrastivity
 the act of echoing/repeating –
 may involve a genuine attempt to recover unrecognized,
unheard information, or to indicate disbelief,
disappointment and so on
+
Low Pitch
Co-reference, Appositives
 used to indicate co-referential, additional or
supplementary information.
Non-defining Relative Clauses
 non-defining relative clauses, parenthetical
statements expressions of dis/agreement, reduced
clauses etc.
Statements of Opinion
 short statements of opinion, involving clarification,
certainty/uncertainty, are attached to propositional
statements
+
Questions?
+
References
“Teaching English Intonation to EFL/ESL
Students” by Mehmet Celik.
 Published in The Internet TESL Journal, Vol. VII,
No. 12, December 2001
 Available: http://iteslj.org/Techniques/Celik-
Intonation.html

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Intonation

  • 1. + English Stress and Intonation Ms. Quiñones, Lehigh University English Intonation
  • 4. + Intonation Units An 'intonation unit' is a piece of utterance, a continuous stream of sounds, bounded by a fairly perceptible pause. (Celik) This is also known as a “thought group”  Ex. “the very special man” or “pedaled quickly” or “which was late”
  • 5. + Intonation and Stress ’Stress' applies to individual syllables, and involves, most commonly, loudness, length, and higher pitch (Roach, 1983:73)
  • 6. + Stress More Information, Less Predictability = Higher Stress on that Word The word(s) that informs the hearer the most is usually the most emphasized.  These are called “content” words
  • 7. + Stress: Content & Function Words  verbs  nouns  adjectives  adverbs  question words (wh-, how)  modal auxiliaries  articles  conjunctions  prepositions  pronouns Content Words Function Words
  • 8. + Types of Stress There are 4 main types of stress  Unmarked tonic stress  Emphatic stress  Contrastive stress  New information stress
  • 9. + Tonic Stress An intonation unit almost always has one peak of stress, which is called 'tonic stress', or 'nucleus'. Tonic stress is almost always found in a content word in an utterance’s final position. Ex. Tonic syllable is underlined: I'm going.  I'm going to London.  I'm going to London for a holiday.
  • 10. + Emphatic Stress  One reason to move the tonic stress from the final position is to assign an emphasis to a content word, usually a modal auxiliary, an intensifier, an adverb, etc.  Compare the following examples adapted from Roach (1983:144).  i. It was very BOring. (unmarked) ii. It was VEry boring. (emphatic)  i. You mustn't talk so LOUDly. (unmarked) ii. You MUSTN'T talk so loudly. (emphatic)
  • 11. + Intensifying Adverbs and Modifiers  indeed  utterly  absolute  terrific  tremendous  awfully  terribly  great  grand  really  definitely  truly  literally  extremely  surely  completely  barely  entirely  very (adverb)  very (adjective)  quite  too  enough  pretty  far  especially  alone  only  own  -self
  • 12. + Contrastive Stress  In contrastive contexts, any word or syllable can receive the tonic stress. Key word = contrast.  Consider the following examples:  a) Do you like this one or THAT one? b) I like THIS one.  Consider the following sentences and their meanings:  She played the piano yesterday. (It was her who...)  She played the piano yesterday. (She only played (not harmed) ...)  She played the piano yesterday. (It was the piano that...)  She played the piano yesterday. (It was yesterday...)
  • 13. + New Information Stress  In a response given to a wh-question, the new information supplied is stressed.  a) What's your NAME b) My name's GEORGE.  a) Where are you FROM? b) I'm from WALES.  a) Where do you LIVE b) I live in BONN  a) When does the school term END b) It ends in MAY.  a) What do you DO b) I'm a STUdent.
  • 17. + Fall (A Falling Tone) signals a sense of finality, completion, belief in the content of the utterance, and so on. A speaker, with a falling tone, also indicates he is done speaking, and offers a chance (turn-taking) for the addressee to respond.  The choice to respond lies with the addressee
  • 18. + Uses of Falling Tone Simple statements:  I'll report you to the HEADmaster Referring expressions:  I've spoken with the CLEAner. Questions that begin with wh-questions:  Where is the PENcil?  Imperative statements:  i) Go and see a DOCtor. ii) Take a SEAT.
  • 19. + Uses of Falling Tone  Requests or orders:  i) Please sit DOWN ii) Call him IN. Exclamations: Watch OUT!  Yes/No questions and tag questions seeking or expecting confirmation:  a) You like it, DON'T you? b) YEES.  In a Yes/No question, speaker knows or assumes they know the answer:  a) Have you MET him? b) YES.
  • 20. + Low Rise (A Rising Tone)  This tone is used in genuine 'Yes/No' questions where the speaker is sure that he does not know the answer, and that the addressee knows the answer.  Consider the following question uttered with a rising tone, the answer of which could be either of the three options:  A) Isn't he NICE?  B) i) Yes. ii) No. iii) I don't know.
  • 21. + Low Rise Other examples which are uttered with a rising tone are:  Do you want some COFfee?  Do you take CREAM in your coffee?
  • 22. + High Rise (A Rising Tone) If the tonic stress is uttered with higher pitch, we may think that the speaker is asking for a repetition or clarification, or indicating disbelief.  a) I'm taking up TAxidermy this autumn. b) Taking up WHAT? (clarification)  a) She passed her DRIving test. b) She PASSED? (disbelief)
  • 23. + Fall Rise (followed by Fall)  Fall-rise signals dependency, continuity, and non- finality (Cruttenden, 1986:102)  Generally used in 'dependent' clauses such as those involving adverbs, subordinate clauses, compound sentences, and so on.  It generally occurs in sentence non-final intonation units.  Consider the following (the slash indicates a pause):  Private enterPRISE / is always EFficient.  A quick tour of the CIty / would be NICE.  PreSUmably / he thinks he CAN.  Usually / he comes on SUNday.
  • 24. + Combinations  Fall-rise + Low Rise  Typically this tone pattern involves a dependent clause followed by a Yes/No question.  If I HELPED you / would you try aGAIN?  Despite its DRAWbacks / do you favor it or NOT?  Fall + Fall  When the speaker expects or demands agreement  It's a bit TOO good to be true / ISN'T it?  When reinforcing w/ adverbials as an expression of after-thought.  Ann said she'd help as much as she COULD / NATUrally.
  • 25. + Pitch and Pitch Range (Key)
  • 27. + High Pitch Used for  exclamation  contrastivity  the act of echoing/repeating –  may involve a genuine attempt to recover unrecognized, unheard information, or to indicate disbelief, disappointment and so on
  • 28. + Low Pitch Co-reference, Appositives  used to indicate co-referential, additional or supplementary information. Non-defining Relative Clauses  non-defining relative clauses, parenthetical statements expressions of dis/agreement, reduced clauses etc. Statements of Opinion  short statements of opinion, involving clarification, certainty/uncertainty, are attached to propositional statements
  • 30. + References “Teaching English Intonation to EFL/ESL Students” by Mehmet Celik.  Published in The Internet TESL Journal, Vol. VII, No. 12, December 2001  Available: http://iteslj.org/Techniques/Celik- Intonation.html

Notas del editor

  1. http://iteslj.org/Techniques/Celik-Intonation.html
  2. Some intensifying adverbs and modifiers (or their derivatives) that are emphatic by nature are (Leech & Svartvik, 1.975:135): indeed, utterly, absolute, terrific, tremendous, awfully, terribly, great, grand, really, definitely, truly, literally, extremely, surely, completely, barely, entirely, very (adverb), very (adjective), quite, too, enough, pretty, far, especially, alone, only, own, -self.