I'd ,like some vtea...

Pokaż mi serce nie opętane zwodniczymi marzeniami, a pokażę ci człowieka szczęśliwego.

I 30 Listen and repeat
( v): lively; enthusiastic; forceful
This is xmine.
You can 'come on Tuesday.
I'd 'like some xtea.
I 35 Listen and repeat
(__ /): reserved; unenthusiastic; grudging
,This is /mine.
You can ,come on /Tuesday.
I'd ,like some /tea.
It's ,all /right.
I 36 Listen and repeat
( ,): reassuring; lively; polite; unfinished
This is /mine.
You can 'come on /Tuesday.
I'd 'like some /tea.
It's 'all /right.
I 40 Listen and repeat
Cv): strongly assertive + encouraging, lively, reproachful;
also implying an alternative You can vcome on Tuesday. I'd
vlike some vtea. John xgave me a vbook.
I 47 Listen and repeat
(x): curt; detached; routine
vWhere? NHow? NWhen did you .come?
(Gimson 1975: 60ff.)
85
Focus on intonation
Extract 2
The tones
i) THE FALL (\ )
Speakers use falling tones in parts of utterances which contain infor-
mation they think is new for their hearers - when they are telling them
something they don't already know. It may be information in response
to a question, e.g. Gill: ... [\] we could give her a book. Or it may be
information the speakers present as new, something they want their
hearers to know about or consider, e.g. Dave: [\] What shall we give
Claire?
ii) THE FALL-RISE (\f )
Speakers use fall-rise tones in parts of utterances which contain
ideas they think their hearers already know about or have experience
of. They refer to something shared by themselves and the hearers at
that point in the conversation. It may be something they both know
about, e.g. Gill: [\/] Well, as she likes reading ... Or it may be
something which has just been stated or implied in the conversation.
4.2 Listen to this example:
B: // Vl'm Going to the IHEatre // \on SATurday//
This is a suitable response in a context like this:
A: Let's go to the theatre.
B: // Vl'm Going to the IHEatre // \ on SATurday//
where the theatre is an idea already shared by A and B.
Now go on in the same way. A and B have finally arranged to
meet. But they haven't decided what to do. Whatever A suggests
B has either done already or is going to do it soon.
i) A: Let's go to the sports centre, then.
B: // V // \ toMORRow //
ii) A: Would you like to see a film?
B: // V // \ this EVEning //
iii) A: Shall we visit Janet? She keeps inviting us.
B: // V // \ next MONday //
iv) A: We could try the new Italian restaurant.
B: //V // \ last SATurday //
v) A: Why don't we drive to the coast?
B: // V // \ on THURsday //
vi) A: Well let's just stay in and listen to some music.
B: // V //\LAST night//
That's what we always do in the end!
Bradford 1988: 12, 15-16
86 Demonstration
Compare these two extracts.
1 Which is the more general and which the more particular?
2 Which can you relate to the functions of intonation as presented in
5.3?
3 Which would you choose for working on these tones with your
students, and why?
Extract 1 will probably look familiar to many readers. It is an example of
the time-honoured method of relating certain syntactic patterns (statements,
yes/no questions, etc.) and attitudinal labels ('reproachful', 'lively') to
certain tones. Undoubtedly there are advantages to this, for instance that
attitudes and emotions are intrinsically interesting, and syntactic patterns
are a reassuringly familiar category for many learners. On the negative
side, as Gimson himself points out in the above extract, the attitudinal
connotation of intonation patterns is extremely context-dependent, and
therefore impossible to generalize and predict. It therefore seems desirable
to rely on a broader, more general and therefore more reliable framework,
even at the danger of it being too general for certain purposes. This is
where the strength of Bradford's approach lies: the dichotomy between
telling and referring tones does not overwhelm learners with a plethora of
minute distinctions.
> TASK 66
Can you reinterpret some of the examples from Gimson in the
previous task with reference to the telling-referring distinction used
by Bradford?
Bradford (1988) is the only intonation textbook to date which consistently
deals with tones by referring to new information and common ground rather
than relating them to attitudes or grammatical features. Of course, many
language teachers do not have the time for a great deal of intonation
teaching and may never use a specialized pronunciation book, let alone a
textbook exclusively devoted to intonation. This is why a broader, more
powerful approach can be especially valuable to teachers as a frame of
reference for the selection of intonation activities which take into account