logical stress

logical stress – this intonational emphasis on one of the words in a sentence in order to give it b about more semantic meaning.

When pronouncing a simple sentence, a single word is usually allocated with logical stress, which for this message is the most important in meaning. For example, in the question: “Did you meet Vasya yesterday?” intonation can distinguish different words. In this case, the meaning of the statement changes.

Orthoepy (Greek orthos correct and epos speech) studies the pronunciation norms of Russian speech.

Maintaining uniformity in pronunciation great importance. Orthoepic errors always interfere with perceiving the content of speech: the listener's attention is distracted by various pronunciation irregularities, and the statement is not perceived in its entirety and with sufficient attention. Pronunciation, corresponding to orthoepic norms, facilitates and speeds up the process of communication. Therefore, the social role of correct pronunciation is very great, especially at present in our society, where oral speech has become a means of the widest communication at different levels.

What are the rules of literary pronunciation that must be followed in order not to go beyond the generally accepted, and, consequently, generally understandable Russian literary language?

The basic law of pronunciation of vowels is the law of reduction(weakened articulation) of all unstressed vowels.

In Russian speech, only stressed vowels are pronounced in full accordance with the phonetic norm. All unstressed vowels are pronounced with weakened articulation, less clearly and longer than stressed ones, and sometimes even replaced by other vowels, also reduced. Consider examples.

Vowels [ a] and [ o] at the beginning of a word without stress and in the first pre-stressed syllable are pronounced as: ovr a G- enemy, auton about mia- w nomia, milk about - mlko.

In the remaining unstressed syllables, that is, in all unstressed syllables, except for the first pre-stressed, in place of the letter about and a after solid consonants, a very short (reduced) obscure sound is pronounced, which in different positions fluctuates from a pronunciation close to [ s], to a pronunciation close to [ a]. Conventionally, this sound is denoted [ b]. For example: heads a- G[ b]catch, sides a– st[ b]ron a, st about erysipelas -

side[ b] and.

After hard hissing [w] and [w], the vowel [a] in the first pre-stressed syllable is pronounced as [a], for example: w[a] rgon, w[a] gat. But before soft consonants, a sound is pronounced, the middle between [s] and [e], for example: f[s] fly, losh [s] dey.

Letters e and I in a pre-stressed syllable after soft consonants they denote a sound intermediate between [ e] and [ and]. Conventionally, this sound is indicated by the sign [and]: five a to - p [and] so, spring a- in [and] sleep, hour s- h [and] sy.

In other unstressed syllables, in place of letters e and I very short [and] is pronounced, in transcription denoted by the sign [b], for example: great a n - in [b] lykan, in s carry - take out [b] sti, piglet about k - n [b] wheelbarrow.

Vowel [ and] after a solid consonant, preposition or when pronouncing the word together with the previous one, it is pronounced as [s]: medical institute - medical [s] institute, from a spark - from [s] hide, laughter and grief - laughter [s] grief. If there is a pause, [and] does not go into [s]: laughter and grief.

You should pay attention to the correct sounding of the following words, in the pronunciation of which mistakes are most often made: midwife e r, af e ra, bl e f, bl yo whip, be e, traveling salesman yo r, l e ska, man yo vry, local e ny, one yo ny, op e ka, sharp yo, P e clo, modern e ny, tv yo rzhe.

Valid options: white yo gray and white e syy, bl yo cool and bl e kly, bile and w e lie.

The absence of vowel reduction interferes with the normal perception of speech, as it reflects not the literary norm, but dialectal features. So, for example, the letter-by-letter (non-reduced) pronunciation of the word [milk] is perceived by us as a rounding dialect, and the replacement of unstressed vowels by [ a] without reduction - [malako] like a strong acane.

Basic laws of consonant pronunciation – stun and likeness.

In Russian speech there is a mandatory stunning voiced consonants at the end of a word. We pronounce bread[p] - bread, sa[t] - garden, smo[k] - smog, lyubo[f] - love. This stunning is one of the characteristic features of Russian literary speech. It should be noted that the consonant [g] at the end of the word always turns into a paired deaf sound [k]: le [k] - lay down, vice [k]. Pronouncing the sound [x] in this case is unacceptable. The exception is the word God- Bo[x].

Assimilation. In place of deaf consonants before voiced ones (except for c), the corresponding voiced ones are pronounced, for example: run away - [z] run away, discard - o [d] quit, station - into [g] hall.

In a position before vowels, sonorant consonants and [v] the sound [g] is pronounced. like a voiced explosive consonant.

In some cases, consonants before soft consonants are pronounced softly, that is, consonants are likened. For example: here - [h'd '] is, if - e [s'l '] whether.

The development of pronunciation norms is associated with the formation national language, with the development of public speech, with the fact that oral speech begins to play a more significant role in the life of society. AT different languages and at different times the degree of severity of orthoepic norms and their meaning are different. Orthoepic norms usually develop over a long period of time.

The orthoepic norms of the Russian language developed in the first half of the 17th century on the basis of Moscow dialects.

Before the formation of the national language, Russian literary pronunciation was not standardized. The era of feudal fragmentation influenced the development of dialects: Rostov-Suzdal, Novgorod, Tver, Ryazan, Smolensk and other dialects differed significantly from each other in phonetic features.

The accession of other principalities to Moscow, the centralization of the Russian state attracted the attention of speakers to Moscow dialects. This is how the norms of the emerging national language begin to take shape.

The positive moment was that the Moscow dialects are Middle Great Russian, the contradictions in the pronunciation of the northern and southern dialects are weakened in them.

But the dialects of Moscow were not homogeneous either. The population of the Moscow Principality was represented by residents of various places, speakers of various dialects.

Until the 16th century, in Moscow, a characteristic phonetic feature was okanye, the distinction of unstressed vowels of a non-high rise, which was a feature of the northern dialects. In the 16th century, under the influence of southern dialects, akanye, the indistinguishability of unstressed vowels of a non-upper rise, spread.

In the second half of the 19th century, the system of orthoepic norms of the Russian national language was finally formed, but in some cases there were fluctuations.

The main differences in pronunciation were associated with the opposition of high style to low, bookish-poetic - colloquial. So, for example, the high style was characterized by an okan, the absence of the transition [e '] to [o'] before a hard consonant, the presence of [γ], alternating in positions of stunning with [x], changing [ch'n] to [shn]: [ boja'ram] - [da'rom], [um'ersh'vl'e'nyi] - [n'ezabv'e'nyi], [us't'i'x] - [sa'm'i' x], [boring] - [simple]. The spelling sh is constantly found in the books of that time: fly, tobacco, kumashny, brick, brown and many others.

In the XVIII lawsuit, Petersburg becomes the capital, where the Moscow nobility moves, and therefore the Petersburg pronunciation has almost no effect on the literary pronunciation. But gradually, by the 20th century, on the basis of the interaction of Moscow, Middle Great Russian, and St. Petersburg, Northern Great Russian, pronunciation, a special orthoepic system is being formed.

The modern Leningrad (Petersburg) system is characterized by echoing, the absence of assimilative softness of some consonants, the hardening of soft labials at the end of a word, the literal pronunciation of the combinations [stn], [zdn], [ch't], [ch'n], the absence of dissimilation of plosive back-lingual before explosive rear-lingual [kk], [k'k']: [h'e'stn], [holiday'ik], [h'to'], [kΛn'ech'n], [m'a'k ], [l'o'kii].

With the parallel existence of Moscow and Leningrad (Petersburg) pronunciation systems, there is a prevalence of Moscow as a system of the literary language and smoothing out the differences between Moscow and Leningrad (Petersburg) pronunciation.

The orthoepic norms that existed before 1917 have largely been preserved. The changes are associated primarily with a decrease in the number of positions of assimilative softening of consonants, for example, dental before labial, with pronunciation approaching writing.

In the development and preservation of orthoepic norms, a large role belongs to the theater, primarily the Maly Theater, which is the custodian of the traditions of the old Moscow pronunciation. Stage speech is still the basis of the orthoepic norms of the Russian literary language.

The value of orthoepy increases with the development of cinema, television, radio.

Andreichenko L.N. Russian language. Phonetics and phonology. Orthoepy. Graphics and spelling. - M., 2003

was formed on the basis of the oral speech of Moscow (Moscow vernacular), which reflected the features of the northern and southern Russian dialects (dialects).

This process began as early as the 18th century, when Moscow became the center of the Russian state. It is believed that by the XIX century. Old Moscow pronunciation has developed in all its main features, which have determined many of the norms of modern Russian literary pronunciation.

Over the past 70 years, many of the old pronunciation norms have undergone significant changes for various reasons. So, according to the old Moscow norms, in some words borrowed from the Church Slavonic (Old Slavonic) language, it was necessary to pronounce a voiced pair with a consonant sound [x]: god, goodness, grace, Lord, Lord. In accordance with this norm, [x] was pronounced in the position of the end of the word: god [boh], good [blah]. In modern Russian literary pronunciation, these words pronounce [g] (at the end [k] - good [blak]), except for the word god, which preserved the pronunciation [boh] and the interjection God! Similarly, the combination of ch, which, according to old Moscow norms, should have been pronounced as [shn], is now supplanted by the pronunciation of [h "n] and remains only in a few words.

Usually the old version of pronunciation is supported in theatrical speech, in the speech of radio and television announcers. It can also be found in poetry. So, the old Moscow norm of the firm pronunciation of the postfix x of reflexive verbs, which has gone into the past, is fixed in the verses of A.S. Pushkin (“Both laurel and dark cypress / In the wild they flourished”), and the old norm of stress became the basis of the poetic rhythm of M.Yu. Leromontov (“In captivity, her sisters withered, / In an unequal battle, the brothers fell”). Proverbs and other stable combinations also often retain outdated norms: Earrings for all sisters.

In the 20th century, and especially towards its end, the influence of visual perception of the graphic appearance of a word (printed or written word) comes to the fore among the social causes of orthoepic changes.

Orthoepy not only studies the pronunciation norms coexisting in the language, but also breeds normative and non-literary pronunciation (for example, pronouncing [ch] in the word of course, replacing [y] with [b] in an unstressed position, etc.). Non-orphoepic pronunciation "scratches" the ear, causes condemnation in any cultural environment and often serves as a means of creating a comic effect: [kul" in`arnj t "`ekhn" kym] instead of [kul" in`arnj t "`ekhn" ikum] (culinary technical College).

Name the reasons for the deviation from orthoepic norms.

Reasons for deviation from orthoepic norms.

The clogging of speech with words of a non-literary layer is undesirable, and in the speech of a lecturer it is intolerable, but the Russian language does not care. Like any great river, it will throw out small garbage, leaving in its mighty waters only what has been assimilated and ultimately useful to it.

Each word from different layers of the language will find its place in different speech styles. Thus, conscious deviations from the norm enliven colloquial, everyday speech, in a work of art they are one of the means of speech characteristics of characters. After all, Pushkin did not slander when he wrote:

Like ruddy lips without a smile,

No grammatical error

I do not like Russian speech.

And is it necessary to throw thunder and lightning, demanding that people in an ordinary conversation

used only standards approved by normative dictionaries? But,

going to the podium with a lecture or report, we must strictly observe all

speech rules.

The concept of speech norms

Speech norms are dictated by social speech practice and are manifested in pronunciation and stress (orthoepic and accentological norms), in

the use of grammatical forms (grammatical norms) and in the norms

word usage (lexico-stylistic norms). These norms are determined by the speech of the majority of educated people who speak the Moscow dialect, which formed the basis of the normative literary Russian language. Theater, radio and television, strictly following the purity of the literary language, are a kind of standards and proofreaders of normative speech. Numerous dictionaries and reference books on various aspects of the culture of speech have become constant companions of every cultured person, the lecturer in particular.

The literary language is characterized by generally accepted norms of pronunciation, distinguishing it from regional dialects, or dialects, and uniting it with uniform norms. The combination of these norms is called orthoepy. Russian orthoepy is based on the Moscow pronunciation, which is characterized primarily by the so-called "akanye", i.e. pronunciation of unstressed O as A, as well as other phonetic features. Various reference books and manuals on orthoepy give detailed instructions on the norms for the pronunciation of sounds and their combinations. In the same reference books, as a rule, one can also find dictionaries regulating the main accentological norms, i.e. stress rules in words that are most often mispronounced.

Here we will not consider orthoepic and accentological norms in detail, but will try to generalize the main patterns of their use and suggest some ways to prevent possible violations of pronunciation norms.

No wonder it is said that "gold shines even in the mud." Remember from Pushkin: “In an instant, by the speech, they realized that they had received the princess.” It is in speech, not in clothing. And at the same time, an expensive suit and a beautiful hairstyle will not save if “everyone”, “document”, “youth”, etc., suddenly slips into speech.

A very striking example of such a “destruction of the primary image” was shown by the actress N. Mordyukova, playing the role of the head of the district health department in the satirical comedy “Thirty-Three”. There are no harsh colors in her appearance, she is alive, real. But here the heroine makes a report in a large and responsible audience. The text of the speech is designed in a strictly scientific style - and suddenly: “We need funds!” The phrase immediately gives a sharply satirical coloring to the whole image of an administrator rushing into science. And this little orthoepic, or rather, accentological mistake causes a strong reaction in the hall. The audience is laughing because so long and carefully concealed lack of culture is suddenly exposed. The explosive force of violation of pronunciation norms is great. The lecturer should

always remember this and constantly work on raising the level of your orthoepic culture. This is all the more necessary because the norms of pronunciation are the most flexible in our language.

However, spelling errors are extremely stable in the speech of individual individuals. The reasons for this are different. So, the most durable, hard to overcome mistakes are due to the dialect of the speaker. And here, violations of the norms should be approached differentially. There are violations of the orthoepic norm of a general dialectal nature, for example, traces of “okanya” in speech or a soft, fricative Г characteristic of southern dialects. A person who grew up in the conditions of this dialect can get rid of it with great difficulty, and not always. It seems that in the presence of a common culture of speech, excellent knowledge of the subject, a clear logic of the statement, the “general background” violation of the orthoepic norm will not interfere with listeners. For many, the "dialect background" is perceived even with some pleasure, as a manifestation of individuality, although others may be annoyed.

But if the lecturer makes a gross accentological mistake in his speech

type: leisure or beets, then everything smart and sensible that he says will be perceived through the prism of this “leisure” and “beets”. And if a violation of the general background pronunciation is acceptable, then the listener will not forgive the speaker for such orthoepic errors as “nyas”, “vyasna” or “go”, “make noise”, etc.

Dialectal speech interferes with mastering the general literary norms of the language, and

therefore, one of the most important tasks in the struggle for a culture of speech is to free oneself from dialect features. Much responsibility for this important task rests with the lecturer.

The mannerism in pronunciation, errors such as “bad habit: “plywood”, “pioneer”, “tema”, “mirror” or, conversely, softened pronunciation such as “aesthetics”, “hotel”, “synthetics” negatively affects the contact of the lecturer with the audience. etc. The first group of words is pronounced incorrectly under the influence of their foreign origin. It seems to the speaker that this sounds more “cultural” (remember the Chekhov institute student who, opposing herself to the “provincials”, said: “We have in Pyutyurburg ...”). Both such mannerisms and the artificial adaptation of Russian pronunciation norms to words that have not completely gone through the process of "Russification", such as "aesthetics", "tendency" and the like, are equally badly perceived by the audience and, like any bad habit, should be immediately eliminated from the lecturer's speech. . This is not so difficult to do, you just need to pay attention to the indicated errors and work on them, best with a tape recorder.

Violation of accentological norms sometimes occurs under the influence of vernacular in combination with dialects. For example, one cannot tolerate the penetration into the lecturer's speech of such colloquial forms as "choice", "architect", "lecturer", engineer", which arose in colloquial speech under the influence of changes in the pronunciation norms of the words "workshops - workshops", "tractors - tractors "," professors - professors. The change happened before our eyes, and therefore the illusion arose that it is possible to “modernize” all the words that fit this model in the same way.

What is articulation?

And why is it needed?

Articulation is the work of the speech apparatus for the correct creation of sound. With proper articulation, there is a clear division of sounds that we can distinguish.

The concepts of articulation and diction are closely related. The setting of the correct diction is preceded by articulatory gymnastics, which activates each of the parts of the speech apparatus. In order to achieve good diction, you first need to warm up and prepare the organs involved in the pronunciation of sounds (tongue, palate, larynx, etc.). This is facilitated by articulation exercises.

Articulation is primarily the correct and distinct pronunciation of sounds. And the main role here is assigned not to voice communications, but to the organs of pronunciation, which are active (tongue and lips) and passive (teeth, gums, soft and hard palate).

The pronunciation of words is a rather complex system, the components of which include the respiratory organs, vocal cords, mouth and nose, tongue, lips, and so on. The actions of this system are coordinated with each other and, which is important, without any effort talking person. When speaking, a person does not need to think about this interaction, for example, how the vocal cords and the soft palate, tongue and gums should interact with each other. Otherwise, when performing, he will very easily get confused and the articulation of sounds will be simply terrible. With direct, mechanical speaking, our organs, which are responsible for pronunciation, perform the necessary impact on all the properties of the voice that determine its quality: loudness, pronunciation speed, pitch, timbre.

Speech articulation is the work of the organs responsible for speech, which are necessary for the pronunciation of sounds. The organs responsible for speech consist of:

The brain, which, with the help of the motor center of speech, sends specific impulses through the nervous system to the organs responsible for the articulation of speech, i.e. its pronunciation;

The respiratory apparatus (lungs, bronchi, trachea, diaphragm and chest), which forms an air stream, which ensures the creation of the necessary voice vibrations necessary for articulation;

Organs of speech pronunciation, which are mainly called organs of speech.

The main condition for the articulation of sounds to be correct is that a person perceives the speech of the surrounding people with the help of hearing. And this is directly laid down in childhood, when the child first hears the pronunciation of words, so he will pronounce them. If there are at least minor problems with hearing, then mastering speech will take a certain period of time.

The reasons for poor articulation of speech may be hidden in the person himself. He can be tired, shy, or vice versa overly self-confident, indifferent, sick, and many other reasons can serve this. By eliminating these causes, your articulation will improve significantly. Special exercises to improve articulation also help to improve articulation.

Questions of correct literary pronunciation are studied by a special linguistic discipline - orthoepy(from Greek orthos - correct and epos - speech). Orthoepic rules and recommendations have always been in the focus of attention of Russian philologists, as well as representatives of those professions whose activities are directly related to public speaking in front of an audience: statesmen and public figures, lecturers, announcers, commentators, journalists, artists, translators, teachers of Russian and foreign languages tongues, preachers, lawyers. But in recent years, interest in the problems of the culture of oral speech has noticeably increased among the most diverse strata of society. This is facilitated by socio-economic changes in our country, the democratization of all aspects of life. The practice of broadcasting parliamentary debates and hearings, live speeches has become widespread: statesmen, leaders of parties and movements, political observers, specialists in various fields of science and culture.

Possession of the norms of literary pronunciation, the ability to expressively and correctly formulate a sounding speech is gradually recognized by many as an urgent social necessity.

Historically, the development and formation of the rules of Russian orthoepy has developed in such a way that the literary pronunciation is based on the Moscow pronunciation, on which some variants of the St. Petersburg pronunciation were subsequently “layered”.

Departure from the norms and recommendations of Russian literary pronunciation is regarded as a sign of insufficient speech and general culture, which reduces the authority of the speaker and scatters the attention of listeners. Regional features of pronunciation, incorrectly placed stress, “reduced” colloquial and everyday intonation, and ill-conceived pausing distract from the correct, adequate perception of public speaking.

Erroneous pronunciation through radio and television is “replicated” to a huge audience, voluntarily or involuntarily assimilated and consolidated, thereby blurring the idea of ​​​​correctness and purity of speech that is necessary for every cultured person. In addition, there are certain negative socio-psychological consequences of non-normative pronunciation, which tends to spread (especially in conditions of round-the-clock broadcasting). Since in the bulk the listener first of all pays attention to the content side of the information, the sound side of speech is not controlled by him, but is fixed at the subconscious level. In these cases, everything that contradicts the established tradition of shaping Russian sounding speech: violation of the intonation pattern of the phrase and the text as a whole, unjustified logical stress, pauses that do not correspond to the natural “flow” of the speech, evoke an intuitive feeling of protest in the listener, create a feeling of anxiety, psychological discomfort.

Work on one's own pronunciation, on improving the pronunciation culture requires a person to have certain knowledge in the field of orthoepy. Since pronunciation is largely an automated side of speech, a person “hears” himself worse than others, controls his pronunciation insufficiently or does not control it at all, is uncritical in assessing his own pronunciation, and painfully perceives comments in this area. The rules and recommendations on orthoepy, reflected in manuals, dictionaries and reference books, seem to him to be overly categorical, different from the usual speech practice, and common spelling errors, on the contrary, are very harmless.

Therefore, in order to successfully master the orthoepic norm or deepen knowledge in Russian literary pronunciation, it is necessary from the point of view of methodological recommendations:

¦ learn the basic rules of Russian literary pronunciation;

learn to listen to your speech and the speech of others;

¦ listen and study exemplary literary pronunciation, which is owned by radio and television announcers, masters of the artistic word;

¦ consciously compare your pronunciation with exemplary, analyze your mistakes and shortcomings;

¦ correct them by constant speech training in preparation for public speaking.

The study of the rules and recommendations of literary pronunciation should begin with the distinction and awareness of the two main styles of pronunciation: complete recommended for public speaking, and incomplete(colloquial colloquial), which is common in everyday communication. The full style is characterized primarily by the observance of the basic requirements of the orthoepic norm, clarity and distinctness of pronunciation, the correct placement of verbal and logical stress, moderate tempo, correct pausing, neutral intonation pattern of the phrase and speech as a whole. With an incomplete pronunciation style, there is an excessive reduction in vowels, falling out of consonants, indistinct pronunciation of individual sounds and combinations, excessive emphasis on words (including official ones), inconsistent speech tempo, and unwanted pauses. If in everyday speech these features of pronunciation are acceptable, then in public speaking they must be avoided.

§ 235. Pronunciation of vowels

The main feature of Russian literary pronunciation in the field of vowels is their different sound in stressed and unstressed syllables with the same spelling. In unstressed syllables, vowels undergo reduction. There are two types of reduction - quantitative(when the longitude and intensity of the sound decrease) and quality(when the sound itself changes in an unstressed position). The vowels in the 1st pre-stressed syllable are subjected to less reduction, the greater - in all other syllables. Vowels [a], [o], [e] undergo both quantitative and qualitative reduction in unstressed syllables; vowels [and], [s], [y] do not change their quality in unstressed syllables, but partially lose their duration.

1. Vowels in the 1st pre-stressed syllable:

a) after solid consonants in place about and a [a]: v[a] yes?, n[a] ha?, M[a]squa?, s[a]dy?, s[a]bo?r ; after hard sizzling and and w on the spot a and about also pronounced weakened sound [a]: w[a]ra?, w[a]nglör, sh[a]gi?, w[a]fer .

Note 1. After hard sizzling and, w and after c soft consonants are preceded by a sound like [s] with an overtone [e] , denoted conditionally [s uh ] : w[s uh ] lie, unfortunately [s uh ] le? niyu, f [s uh ]ke?t , in plural forms of the word horse: losh[s uh ]de?th, losh[s uh ]dya?m etc. ... in the forms of indirect cases of numerals on - twenty: twenty[s] uh ]ty?, thirty[s] uh ]ty? etc.; in rare cases sound [s uh ] pronounced on the spot a in position before hard consonants: hw[s uh ]Noah. w[s uh ]sm?n .

Note 2. Unstressed [about] pronounced in conjunctions but and what , and is also allowed in some foreign words, for example: b[o]a?, b[o]mo?nd. rococo?. J[o]re?c .

Note 3. Preservation about in unstressed syllables is a feature of regional pronunciation, so the pronunciation M[o]squa?, p[o]ku?pka, p[o]e?dem, v[o]zi?t. railway station does not correspond to the norm;

b) after hard hissing w, w and c on the spot e a reduced sound like [s] with an overtone [e] , denoted conditionally [s uh ]: w[s uh ]on?, w[s uh ]pt?t, q[s uh ]lu?y ;

c) after soft consonants in place of letters I and e , as well as after soft hissing h and sch on the spot a a weakened sound is pronounced [and] with an overtone [e] , denoted conditionally [and uh ] : m[i uh ]sno?th, R[and uh ]for?n, m[and uh ]sti?, h[i uh ]sy?, sch[and uh ]di?t , as well as in the plural forms of the word area: area uh ]de?th, square[and uh ]dya?m etc.;

d) on the spot I and e a sound is pronounced at the beginning of a word [and] with an overtone [e] , denoted [and uh ] combined with the previous [yi]: [yi uh ]Zda?, [yi uh ]nta?r, [yi uh ]egg?.

Note. Preservation [a] in an unstressed syllable after soft consonants is a feature of the regional pronunciation, so the pronunciation [w’a] for? be, bi? on, h[a] sy?, [ya] egg?, [ya] vi? does not correspond to the norm.

2. Vowels in other unstressed syllables:

a) at the absolute beginning of a word in place of letters a and about always pronounced attenuated sound [a]: [a] rbu? z: [a] kno ?, [a] car? l, [a] declination;

b) after solid consonants in unstressed syllables, except for the 1st pre-stressed, in place a and about a reduced sound is pronounced, average in sound between [a] and [s] [b]: g[b] lova?, k[b] rand? sh, i? bl [b] k [b] ;

c) after soft consonants in unstressed syllables, except for the 1st pre-stressed, in place and I and e pronounced reduced, middle in sound between [and] and [e] , short in duration, denoted conditionally [b]: [p’b] tacho? k, [l’b] rubbish? b, you? [n’b] su, h[b] catch? k .

3. Vowel and at the beginning of the root after a prefix or preposition, ending in solid consonants is pronounced like [s] : from the institute - and[zy]institute , with Igor - [sy] grief ; save in this position [and] and the softening of the consonant before it is a regional feature of pronunciation and does not correspond to the norm.

4. Stressed vowels in place e and yo . In the pronunciation of a number of words, difficulties arise due to the indistinguishability of letters in the printed text. e and yo , since only the letter is used to designate them e (except for educational literature for junior schoolchildren and foreign students). This situation leads to a distortion of not only the graphic, but also the phonetic appearance of the word, and is the cause of frequent pronunciation errors. Therefore, it is recommended to remember two rows of words:

a) with a letter e , in the place of which sounds [e]: scam, spineless, bluff, being, sleet, firebrand, grenadier, plump, life, alien, religious procession (but Godfather ), fishing line, non-existence, perplexed, invaluable, guardianship, sedentary (settlement), successor, successor, shadowing, modern, yoke, barley and etc.;

b) with a letter yo , in the place of which, sounds [about]: hopeless, buckets, engraver, bile (admissible bile ), bilious (admissible bilious ), mockery, traveling salesman, priest (but priest ), maneuvers, mercenary, convicted, brought in, translated, brought, sturgeon, fable, laid down, brought, brought, scabrous, scrupulous, belted, sweep, tyosha, wool (coarse-haired), lye and etc.

In some pairs of words, a different meaning is accompanied by a different sound of the stressed vowel. [about] or [e]: expired (term) - expired (blooded), announced (shouts like an announced) - announced (decree), perfect (singing) - perfect (opening).

§ 236. Pronunciation of certain consonants

1. Consonant [G] in the literary pronunciation of an explosive, instant sound, when stunned, it is pronounced as [to]: sleep [to], take [to] . Pronouncing in his place "Ukrainian" G , conventionally denoted [h] , does not correspond to the norm: [h] uh? be, sapo [h] and? . The exception is the word God , at the end of which sounds [X] .

2. Instead of h in words of course, boring, scrambled eggs, fiddling, birdhouse, bachelorette party, laundry, rag, rag-picker , in female patronymics ending in - ichna (Nikitichna, Kuzminichna, Ilyinichna etc.), as well as in the words what to, nothing pronounced [w] .

3. In words man, defector in place of combination zhch , in the form of the comparative degree of adverbs tougher, tougher (and biting ) in place stch , as well as in place of combinations zch and mid pronounced [n]: loader, customer, carver, subscriber, sandstone, happy, happiness, account, electronic account, counter, cost accounting, count and etc.

4. With the accumulation of several consonants in some combinations, one of them is not pronounced:

a) combined stn not pronounced [t]: teaching? [s'n'] ik, ve? [s'] nick, what? i?ro[sn]th ;

b) combined zdn not pronounced [d]: by? [zn] o, right? [zn] ik, nae? [zn] ik , but in the word abyss it is recommended to leave a weak sound [e] ;

c) combined stl not pronounced [t]: happy [s’l ’] and? ; in words bony and send [t] is preserved;

d) combined stl not pronounced [t] ; this produces a double consonant [ss]: maximum? [ss] cue, turi? [ss] cue, race? [ss] cue .

5. In some words, with the accumulation of consonants stk, zdk, ntk, ndk fall out is not allowed [t]: daughter-in-law, trip, summons, typist, cumbersome, laboratory assistant, student, patient, Irish, Scottish but: cloth shotla[nk]a .

6. Hard consonants before soft consonants can be softened:

a) necessarily softens I n before soft h and With: ne? [n’s ’] ia, prete? [n’z ’] ia, rece? [n’z ’] ia, face? [n’z ’] ia ;

b) in combinations tv, dv may soften t and d: Thursday, Tver, hard [t’v’] and [tv’]; door, two, move [d’v] and [dv’] ;

c) in combinations sv and St. may soften h and With: beast, ring [z'v '] and [sv']; light, candle, witness, saint [s'v] and [sv'] , as well as in the word snake [z'm'] and [zm’] ;

G) n in front of soft t and d softens: ba[n't']ik, wi[n't']ik, zo[n't']ik, ve[n't']il, a[n't']ichny, ko[n't '] text, remo[n't'] ban, b[n'd']it, I[n'd']ia, style[n'd']ia, zo[n'd']irovat, and [n'd']ivid, ka[n'd']idat, blo[n'd']in.

§ 237. Pronunciation of certain grammatical forms

Some grammatical forms of verbs, nouns, adjectives are characterized by special rules for pronouncing sounds in suffixes and endings.

1. In verbs with a particle- Xia in the indefinite form and in the third person singular and plural at the junction of the ending and the particle is pronounced [ts]: meet, meet - meet [tts], mark, mark - note [tch], mark - note? [tch], say goodbye - goodbye? [tch].

In the form of the imperative at the place of combination - be sound two soft sound [t's']: mark - mark? [t's'], meet - the wind? [t's'] .

2. In the endings of the genitive case of the masculine and neuter forms of adjectives, numerals, pronouns - wow /-his on the spot G pronounced [c]: big house (lake) - big? [b], blue flag (sea) - si? not [b] . The same rule applies to words today - se [in] o? days, total - total [in] o? .

Note. Surnames ending in - ago (Shembinago, Zhivago ), the sound is pronounced [G] .

3. Graphic abbreviations, occurring in the text, for example, surname initials , as well as abbreviations like l (liter), m (meter), kg (kilogram), ha (hectare), p / box (“letter box”), etc. (etc.), s (page) and etc. in reading "decipher", i.e., "unfold" into full words. Graphic abbreviations exist only in writing only for visual perception, and their literal reading is perceived either as speech error, or as irony, appropriate only in special situations.

§ 238. Features of the pronunciation of Russian names and patronymics

The combination of first name and patronymic is used in different situations both in written and oral speech: in official decrees on awards, appointments, in orders, lists, for example, on personnel records, composition of production and training groups, in business and private correspondence, in addressing an interlocutor, in introducing and naming third parties. persons.

In an atmosphere of official, business communication between people, especially in the work of a teacher, translator, editor, lawyer, businessman, employee of government or commercial structures, it becomes necessary to address by name and patronymic. Many Russian names and patronymics have pronunciation options that it is desirable to take into account in a particular communication situation. So, when meeting, at the first introduction of a person, a distinct, clear, close to spelling pronunciation is recommended.

In all other cases, incomplete, contracted forms of pronunciation of names and patronymics are acceptable, which have historically developed in the practice of literary oral speech.

1. - uy (Vasily, Anatoly, Arkady, Grigory, Yuri, Eugene, Valery, Gennady ) ending in combinations - evich, - evna preceded by a separator b: Vasil evich, Vasil evna; Grigory evich, Grigory evna . When pronouncing female patronymics, these combinations are clearly preserved: Vasil evna, Anatole evna, Grigory evna etc. In male patronymics, full and contracted options are allowed: Vasya?[l'jb']ich and Vasya[l'ich], Anato?[l'jv']ich and Anato?[l'ich], Grigo?[r'jb']ich and Grigo?[p' ich] etc.

2. Patronymics formed from male names on - her and - ah (Alexey, Andrey, Korney, Matvey, Sergey, Nikolay ) end in combinations - eevich, - eevna, - aevich, - aevna: Alekseevich, Alekseevna, Nikolaevich, Nikolaevna . In their pronunciation, the literary norm allows both full and contracted options: Alexeyevich and Alex?[i]h, Alekseyevna and Alek[s’e?]vna; Sergeyevich and Serge?[i]h, Sergeevna and Ser[g’e?] vna; Korne?evich and Cornet?[and]h, Korne?evna and Kor[n’e?]vna; Nikolaevich and Nikola?[i]h, Nikolaevna and Nikola?[ext]a etc.

3. Male patronymics ending in an unstressed combination - ovic , can be pronounced both in full and in contracted form: Anto?novich and Anto?n[s]h, Alexandrovich and Alexa?ndr[s]h , Iva?novich and Willow?n[s]h etc. In female patronymics ending in an unstressed combination - ram , the full pronunciation is recommended: Alexander ram, Boris ram, Kirill ram, Victor ram, Oleg ram etc.

4. If the middle name starts with and (Ivanovich, Ignatievich, Isaevich ), then in pronunciation with a name ending in a solid consonant, but goes into [s]: Pavel Ivanovich - Pavel[s]vanovich, Alexander Isaevich - Alexander[s]saevich .

5. Usually not pronounced ov n and m: Willow? [n:]na, Anto?[n:]a, Efi?[mn]a, Maxi?[mn]a .

6. Not pronounced unstressed - ov in female patronymics from names ending in in: Vyachesla?[ext]a, Stanisla?[ext]a .

§ 239. Pronunciation of borrowed words

Part of the borrowed vocabulary in the Russian language has some orthoepic features, which are fixed by the literary norm.

1. In some words of foreign origin in place of unstressed about pronounced sound [o]: ada? gio, boa?, bomo? nd, bonto? n, cocoa? o, radio, three? o . In addition, there may be stylistic hesitation in high-style text; preservation of unstressed [about] in words that are foreign in origin - one of the means of attracting attention to them, the means of highlighting them. Word pronunciation nocturne, sonnet, poetic, poet, poetry, dossier, veto, creed, foyer and others with unstressed [about] optional. foreign names Maurice Thorez, Chopin, Voltaire, Rodin, Daudet, Baudelaire, Flaubert, Zola, Honoré de Balzac, Sacramento and others also retain unstressed [about] as a variant of literary pronunciation.

In some borrowed words in literary pronunciation, after vowels and at the beginning of a word, the unstressed [e]: duelist, muezzin, poetic, aegis, evolution, exaltation, exoticism, equivalent, eclecticism, economy, screen, expansion, expert, experiment, exhibit, ecstasy, excess, element, elite, embargo, emigrant, emission, emir, energy, enthusiasm , encyclopedia, epigraph, episode, epilogue, epoch, effect, effective and etc.

2. In oral public speech, certain difficulties are caused by the pronunciation of a hard or soft consonant in borrowed words before the letter e , for example, in words pace, swimming pool, museum etc. In most of these cases, a soft consonant is pronounced: academy, pool, beret, beige, brunette, bill, monogram, debut, motto, recitation, declaration, dispatch, incident, compliment, competent, correct, museum, patent, pate, Odessa, tenor, term, plywood, overcoat; word pace pronounced with a firm t .

In other words before e a hard consonant is pronounced: adept, auto-da-fe, business, western, child prodigy, riding breeches, dumbbell, grotesque, neckline, delta, dandy, derby, de facto, de jure, dispensary, identical, boarding school, international, intern, karate, square, cafe, scarf, codeine, code, computer, tuple, cottage, bracket, martin, billionaire, model, modern, morse, hotel, parterre, pathos, polonaise, purse, poetess, resume, rating, reputation, superman and others. Some of these words have been known to us for at least a hundred and fifty years, but do not show a tendency to soften the consonant.

In loanwords beginning with a prefix de- , before vowels dez- , as well as in the first part of compound words starting with neo- , with a general tendency to soften, there are fluctuations in the pronunciation of soft and hard d and n , for example: devaluation, de-ideologization, demilitarization, depoliticization, destabilization, deformation, disinformation, deodorant, disorganization, neo-globalism, neo-colonialism, neo-realism, neo-fascism.

Solid pronunciation of consonants before e recommended in foreign proper names: Bella, Bizet, Voltaire: Descartes, Daudet, Jaures, Carmen, Mary, Pasteur, Rodin, Flaubert, Chopin, Apollinaire, Fernandel [de?], Carter, Ionesco, Minelli, Vanessa Redgrave, Stallone and etc.

In loanwords with two (or more) e often one of the consonants is pronounced softly, while the other remains firm before e: strap [rete], genesis [gene], relay [relay], genetics [gene], cafeteria [fete], pince-nez [ne; ne], reputation [re; me], secretary [se; re; te], ethnogenesis [gene] and etc.

In relatively few words of foreign origin, there are fluctuations in the pronunciation of the consonant before e , for example: with the normative pronunciation of a solid consonant before e in words businessman [ne; me], annexation [ne] pronunciation with a soft consonant is acceptable; in words dean, complaint soft pronunciation is the norm, but hard pronunciation is also allowed [de] and [te] ; in the word session variants of hard and soft pronunciation are equal. It is not normative to soften consonants before e in the professional speech of representatives of the technical intelligentsia in words laser, computer , as well as in colloquial pronunciation of words business, sandwich, intense, interval .

Stylistic fluctuations in the pronunciation of hard and soft consonants before e are also observed in some foreign-language proper names: Berta, The Decameron, Reagan. Major, Kramer, Gregory Peck and etc.

3. Solid [w] pronounced in words parachute, brochure . In the word jury pronounced soft hissing [and'] . Names are pronounced the same way Julien, Jules .

III. FEATURES OF THE RUSSIAN STRESS

§ 240. Russian word stress

Word stress in Russian is characterized by heterogeneity(can be on any syllable and any part of a word: but? lead, science, education, bourgeoisie? etc.) and mobility (in different grammatical forms, the word can move from one syllable to another: head?, head; head; accepted, accepted?; bold, bold? etc.).

Prepositions, conjunctions and particles usually do not have independent stress on themselves and are adjacent to independent parts of speech: beyond the city, haven’t been?, father? . In some cases, the emphasis shifts to the preposition: up the mountain, on? gender, for night . Thus, independent and functional words have one verbal stress, making up a single phonetic word in sound.

Note. A small number of service parts of speech are weakly stressed and do not change the quality of the “stressed” vowel. These are unions but, as if, for sure, then ... then , some prepositions that do not violate the semantic connection with adverbs ( along, opposite, besides, next to, between etc.), particle well .

Compound words and words with prefixes anti-, inter-, near-, counter-, over-, super-, ex- and others may have, in addition to the main, side(or secondary) stress, conventionally denoted by the grave sign ( ‘ ). But among the complex words there are many single-stressed ones: pre-war, independent, car, dormitory etc. Collateral stress usually in order is the first (closer to the beginning of the word), and basic- second (closer to the end of the word): oath th, inter-republic? nsky, su and etc.

Right choice the place of stress in a word is of great importance in the work on the culture of oral speech. The following are examples of the most common mis-emphasis. These can be both individual words and some grammatical forms of words:

1) Common nouns:

agent, agronomy, alphabet? t, apo? krif, apostrophe, are? st, asymmetry? , bravura? rny, rattling, gross? e, gross? m wali? t, faith? giving, supremacy? nstvo, supper, genesis, citizenship, grotesque, ground? e, gave? y-la?ma, hyphen?s, dia?spore, diopter?I, dispensary?r, do?gmat, old?vko, confessor?k, blinds? sk and flint, kitchen, marketing, masterful, messi, mimicry, many hours, garbage chute, intention, real estate, unsleeping(eye), not? netsky, untrodden, unspeakable? (relations), oil pipeline, newborn, provision, depreciate, facilitate, encourage, educate, one-component, wholesale, inform, recall(for manuscript) review (deputy), rebuff, somewhat, remembering, fir, plateau, repeated, teenage, anticipating, coercing, acquiring, reasoning, sanitary? I, modest, convoking ?in, concentration, means, carpenter, status, statute? t, history, taboo?, customs, customs, bidding? simple, deepen, Ukrainian, reduce, simplify, facsimile, extravaganza, phenomenon(phenomenon), needles? I, cotton? (norm), linguistic (sausage).

In many words, there are fluctuations in the setting of stress: equal options - denim and denim, zai?ndevely and frosty, combiner and combine operator, metallurgy and metallurgy, propolis and propolis, the loop? and the loop, erysipelas and childbirth, rust and rust, sa?zhen and soot?, cottage cheese and cottage cheese, fanza and fanza? ; with normative stress and? vgustovsky admissible augustian , at birch bark admissible birch bark , at shell admissible shell , at wary admissible wary ; with normative stress industry - obsolete industry , at swept away - obsolete quick-witted , at ra?course - obsolete cancer?rs ;

2) Proper names:

Aigi?, E?vno, Aze?f, A?be, Ko?be, Eli?n Peli?n, Zakhode?r, P?res de Cue?lier, Steinbeck, Se?linger, Rua?l A Mundsen, Balmont, Vorontso? va-Da? Alexi?y, Ignaty Loyo?la, archpriest Avvak?m, Julian?n Tu?vim, Sokolo?v-Mikito?v, Sa?yudis, Ana?dyr, Balashi?ha, Veliky U? Stug, Ki?zhi, Ra?donezh, Mount Narodnaya, Stavropol Territory, Hanno?ver, Che?t'i-Mine?i, Apoka?lipsis, Kali?gula, Molo?x, Karnegi Hall, Comedy? France?z. Metropolitan-Opera, Myanmar?, Nikara?gua, Peru?, Quebec?c, S?days, Massachusetts, Missouri, Foro?s, Sri Lanka?.

In some proper names, a variable accent is allowed: New? tone (but traditionally: Newton?n ), Re?mbrandt (but traditionally: Rembra?ndt ), Li?ncoln (but traditionally: Linko?flax ), De?vid Ko?pperfield (but traditionally: Davi?d Copperfly?ice ).

Note. In cases where one proper name refers to two (or more) persons, objects, concepts, it is necessary to clarify the specific meaning of this word and, using encyclopedic dictionaries to figure out the correct accent. For example, Washington George, first President of the United States but traditionally Washington- the capital of USA, Macbe?t - a character in Shakespeare's tragedy of the same name, but in the title of Leskov's story "Lady Ma?kbet Mtsensk district".

§ 241. Stress in certain grammatical forms

The mobility of Russian stress, i.e., its transfer from one syllable to another in various grammatical forms of a single phonetic word, causes a number of difficulties in pronouncing these forms.

1. Shifting emphasis to prepositions on, for, under, by, from, without possible if there are no words explaining it in the sentence after the noun:

1) in combination with a preposition per

"on the other side, behind" , for example: atgo for? river, for mountain; pawn for? cheek, for ear; lay your hands on? back, for head;

"during" do for? year for? day, for night, for winter pay for? year for? day etc.;

2) in combination with a preposition on the (with accusative case) meaning:

"in the direction, on top of smth" , for example: fall (sit down, lie down) on? floor, climb on? mountain, something got on? hand, on nose, load on? back, put something on? head, on legs, on arms;

"indication of the point of contact with the support" , for example: lie down on back, fall on? back, on hands on? head, stand on? legs, on hands on? head;

"within the specified period" (with units of time), for example: stock up (stretch, enough) for? year, on day, on night, on winter, take a loan for? year etc.;

"indication of the measure of difference" , for example: on the? a year older, on? the day before, on head up etc.;

3) in combination with a preposition on (with dative case) - with the meaning of this preposition "on the surface, within" (about movement), for example: walk on? semi, by field, by yard, walk around? forest, fly through? the sky, swim across? sea, crumble over? semi, by forest.

With other meanings of these prepositions, stress transfer may not occur, for example:

a) to take something for a mountain, for a river, for a leg, for winter, he is valued for his head, for his hands, a reward for his head, I fear for his hair, for head, for the legs;

b) pay attention to the hands, to the legs, to the nose, to the floor, to the day, despite the night, to the winter, the land tax;

in) longing for the sea, for the sky, judging by the yard?, for the forest, everyone got the field.

Stress transfer usually does not occur, if in a phrase a noun is followed by a word or words explaining it (subordinate to it or connected with it by a coordinating link), for example:

a) across the Ural River, for a year and two months, for a year of hard work, for a day of his duty, holding on to the hand of a comrade, took hold of his father's shoulders;

b) on Mount Yaman-Tau, put a load on the back of a porter, put a hat on the head of a neighbor, older by a year and two months;

in) around the yard? hotels, on the snow and ice of the Gulf of Finland, on the Laptev Sea.

2. Stress in the forms of adjectives.

1) the stress goes to the ending in the short form of the feminine: loud, loud?, loud, loud, loud, louder; to? long, long?, to? long, to? lies, more; bad? th, bad?, bad? ho, bad? hi; heavy, heavy?, heavy, heavy; rights(no full form) right?, right? in, right? you;

2) the stress passes to the ending in the short form of the feminine gender and to the suffix of the comparative degree: glorious, glorious, glorious, glorious, glorious, glorious, glorious; whole, whole, whole, whole, whole, whole, whole; satisfying, satisfying, satisfying, satisfying, satisfying, satisfying, satisfying; fast, fast, fast?, fast, fast, fast; young, young, young, young, young, young, young;

3) the stress moves to the ending in the short form of the feminine gender and plural (as an equal option), as well as to the suffix of the comparative degree: poor, poor, poor?, poor, poor, poor? pale, pale, pale?, pale, pale, pale?, paler; important, important, important, important, important, important, important; true, true, true, true, true, true, true; free(free) , free, free?, free, free?, free? e, slim, slim, slim?, slim, slim?, slim? e;

4) movable stress accompanied by alternation yo and e: distant, far, far?, far? and far, far? and far, yes? more; cheap, cheap, cheap?, cheap, cheap, cheap? tough, tough, tough?, tough, tough, tougher; easy, easy, easy?, easy?, easy?, lighter; dark, dark, dark?, dark?, dark?, dark?e; clear, clear, clear? and clear, clear, clear, clear .

3. Difficulties in placing stress in verb forms(indefinite form, personal forms, participles, participles):

1) verbs ending in - ing with indefinite stress on the last syllable: bombarded, bombarded, bombarded; engraving, engraving, engraved; make-up, make-up, make-up; reward, reward, reward; to form, form, form, formed; costumed, costumed, armored(armor), armored, armored; bathroom; corrugated, corrugated, corrugated; grouping, grouping, grouped; sealing;

2) root verbs call for: called?, called? lo, called?, called? but, called; called? l, called?, called? lo, called? called, called, called, called, called, called, called, called, called, called;

3) verbs with a root rub: rubbed, rubbed, rubbed, rubbed? and admissible rubbed, rubbed ; the same stress pattern in verb forms wipe, wipe ;

4) verbs lock up, unlock: for? per, locked?, for? perlo, for? locked, for? first, locked? in and admissible for?pershi, locked?locked, locked?locked, locked?, locked?locked, locked?locked; o?tper, unlocked?, o?tperlo, o?tperli, o?tpershiy, unlocked? and admissible open?, open, open, open, open, open, open . The same stress pattern for the verb die , except for the form dead , where the stress falls on the root vowel;

5) verbs remove, borrow, understand, accept, undertake, take away, take over and verb to begin : With took off, took off?, took off? lo, took off, took off? busy, busy, busy, busy, busy, busy, busy, busy, busy, busy, busy; similar stress pattern in verb forms to accept and undertake; understand, understood, understood?, understood, understood, understood, understood, understood, understood, understood, understood?, understood, understood; take away, o? took away and admissible took away? l, took away?, about? took away and admissible taken away? lo, oh? taken away and admissible taken away, taken away, taken away? in, taken away, taken away, taken away ?, taken away, taken away; take over, take over and admissible adopted? l, adopted?, adopted and admissible adopted? lo, adopted and admissible adopted, adopted, adopted, adopted? in, adopted, adopted, adopted, adopted ?, adopted, adopted; start;

6) verbs depart, arrive: ubu? du, ubu? desh, ubu? ; the same stress pattern in verb forms arrive ;

7) verbs with a root to give (you?give, publish, transmit, sell, surrender ); in verb you?give in all forms, the stress falls on the prefix; publish, publish, publish, publish, publish, publish, publish, publish, publish, publish, publish , and? issued, and? issued, published? and admissible and?building, and? building, and? building ; similar stress pattern in verb forms sell ; Phand over, hand over, hand over, hand over, hand over, hand over, hand over and admissible handed over? l, handed over?, handed over and admissible handed over, handed over and admissible handed over, handed over, handed over? to, handed over, handed over, handed over? and admissible handed over, handed over, handed over; give up, give up, give up, give up, give up, give up, give up, give up, give up and admissible gave up .

PREPARATION OF THE TEXT FOR AUDIO

§ 242. Pausing

The study of the basic rules of Russian literary pronunciation, the analysis of "difficult cases" of placing stress in words and grammatical forms, an attentive, thoughtful attitude to the sounding side of speech are necessary prerequisites for independent work over the improvement of the culture of oral speech. But the acquired orthoepic information only partially provides successful training public speaking, the ability to pronounce (or read) a complete voluminous text of a message, report, speech, report, etc. Suggested below guidelines can be taken into account in the process of preliminary work of the speaker on the text of the speech.

1. Pausing- the division of a sounding phrase into smaller speech segments (speech measures, or syntagmas) is one of the most important features of sounding speech. Another feature is the presence of pauses that naturally occur at the boundaries of speech measures and individual phrases.

speech beat, or syntagma, is the minimum content unit. The sentence in sounding speech is perceived by the listener and translated from one language to another in separate speech measures. Different division of the phrase into speech measures can interpret the meaning of the sentence in different ways, for example: "Execution cannot be pardoned" , in which two pause options are possible: 1) Execute / cannot be pardoned ; 2) You can not execute / pardon . Or: 1) Need to study / work / and rest ; 2) We must learn to work / and rest .

2. Correct pausing, i.e., the correct division of the text into phonetic phrases, and phrases into speech measures, is the first stage in preparing the text for voicing. Although the sound segment between pauses (syntagma) can be of various lengths, its average length is usually seven syllables. But the speech tact (syntagma) has a relatively complete meaning and a certain syntactic design. For example: On the banks of the Moskva River, / opposite the Southern Port of the capital, / a modern residential area has grown. / Pauses divide this simple sentence into separate phrases. Another example: In order to divide speech into measures, / stops are needed, / or, in other words, / logical pauses. This complex sentence is divided into simple ones (pause after the word so you ), simple - for phrases. Thus, thoughtful pausing helps the logical analysis of individual sentences, complex syntactic wholes (see Ch. XLIX), the entire completed text.

3. In Russian, orientation to punctuation marks can serve as the basis of the correct pausing of the text. So, in a simple sentence with separate participial, adverbial, comparative phrases, introductory and interstitial sentences, appeals, punctuation marks that highlight these syntactic constructions are signals for a pause. For example: On the southwestern outskirts of the US capital / - Washington, / where Highway No. 95, / leading south from the city, / crosses the muddy Potomac River on two bridges, / opposite Arlington Cemetery, / there is a building of grayish reinforced concrete. / /

Note. A pause may be absent with isolated single introductory words and single gerunds: The adoption of a new law is, of course, necessary; When you leave, turn off the light.

4. Pausing in cases where there are no punctuation marks:

1) between the subject group and the predicate group: A road trip across America/is like a trip across the ocean// (I. Ilf, E. Petrov);

2) after circumstantial words, usually with the meaning of place, time, reason, and also after additions at the beginning of the sentence: On one of the autumn evenings of 1969 / in the editorial office of the newspaper Pravda / about “One-story America” a conversation turned at a meeting of young satirists / /(Shatunovsky, Strelnikov);

3) before the union and , if with three or more homogeneous members it combines the last two: Occasionally / we met farms scattered throughout the steppe-prairie, / with the obligatory red barn, / silo tower /and a mighty hundred-year-old tree in front of the porch of the house (Shatunovsky, Strelnikov).

5. Psychological pause arises in addition to the logical and is possible when the speaker wants to highlight a word in particular, to draw the attention of listeners to it. In the second case, we can talk about the ability to "keep a pause", which is owned by actors and experienced speakers.

Below is the text prepared for the speech with preliminary markup of pauses. red oblique lines(/) (in texts a continuous oblique line) indicate obligatory pauses, blue oblique lines (¦ ) (dashed line in texts) - possible, optional.

For Vysotsky¦ there are no forbidden topics, / he fearlessly, / with defiant courage / wrote and sang about everything / that worried him. / But it was that freedom / which is provided morally, / by an accurate attitude to the subject¦ or phenomenon. / Vysotsky ¦ not just fixes, / transmits, / reflects the drama of life. / He is dramatic himself, / by the nature of his subjectivity, / individuality, / talent. / / Everything / that he did, / and everything that he succeeded, /- this is from restlessness, / from a feeling of anxiety that did not leave him.//

Dramatic, / in the words of A. S. Pushkin, / is connected with “passions¦ and outpourings of the human soul”. / In full accordance¦ with this precise observation! / Vysotsky¦ at the very time / when half-whisper dominated, / on the one hand , / and pop noise / - on the other hand, / began to speak and sing in an “open voice”, / passionately, / angrily, / sometimes turning into a cry. / / So, / as people sing at home, / in a free, / relaxed , / environment not constrained by strict rules. / /(V. Tolstykh, In the mirror of creativity).

§ 243. Intonation of the text

The expressive sound of the text is facilitated not only by the correct pausing, but also by the correct, natural intonation that meets the requirements of the traditionally established literary norm.

There are two main types of intonation in Russian: ascending(with rising tone) and descending(with decreasing tone). Rising intonation can also be called the intonation of incompleteness, and descending- intonation of completeness.

A special rise in tone, accompanied by an increase in word stress, a greater intensity of the stressed syllable, is called logical stress. It is used to make sense of a word or phrase in a sentence. There is a certain pattern between the ways of intonation and punctuation marks, on the one hand, and the semantic relationships in the sentence, on the other.

1. Falling intonation(decrease in tone), conditionally indicated in the texts by an icon (in the examples it is highlighted bold italic

1) point: Moscow. 7 October. Today, the Pushkin Museum of Fine Arts opened an exhibition dedicated to the 100th anniversary of the birth of Marina Tsvetaeva;

2) ellipsis(if it denotes the completion of a thought): "Petersburg is taken Finns... Kolchak took Syzran. Tsaritsyn…” (Bunin);

3) comma in non-union and compound sentences with enumerative relations between parts: “In July evenings and nights, the quail no longer screams and corostels, nightingales do not sing in forest ravines, does not smell flowers. day longing forgotten, everything is forgiven, and the steppe easily inhales the wide breastfeeding…» (Chekhov);

4) semicolon(the pause between parts is longer than with a comma);

5) colon in a simple sentence: The company needs workers: locksmiths, turners, millers; in a complex sentence: And my request is next: take care of our language, our beautiful Russian language… (Turgenev).

2. Rising intonation(raising the tone), conventionally indicated in the texts by the icon (in the examples it is highlighted bold), is required when the following punctuation marks are used:

1) exclamation point: I beg attention! Please stop debate!;

2) question mark: What is the feature modern stage development societies?;

3) comma:

a) in a series of homogeneous members of a simple sentence, connected by connecting unions and yes (in meaning "and" ), or without conjunctions, is accompanied by the intonation of the same type of enumeration: The team crept up business, cheerful, vigorous. Everyone works with full bestowal and enthusiasm;

b) in a simple or complex sentence in the presence of adversatives ( but, but, however ), separating ( either ... or, then ... that, not that ... not that etc.), double comparative ( like…and; although ... but; if not...then etc.) of unions is accompanied by a heterogeneous, non-uniform intonation: the ascending intonation is replaced by a descending one: Mal spool, Yes roads. Is not the outside, a avenue. In economics, there is no other choice: either strength, or ruble ;

c) in a simple sentence with isolated members of the sentence: Editorial thanks readerswho sent their wishes. AT decisionadopted on meetingsummed up the results of the work. Despite the difficult weather conditions, the transcontinental flight took place;

d) in a simple sentence in the presence of introductory words and appeals, if they are allocated in a speech tact, i.e. accompanied by a pause: Reportedly printing, the visit of the head of government may not take place;

e) in a complex sentence on the border of its simple sentences: to me seemsthat the style of translation will not be violated if we transmit foreign proverbs with moderation and tact Russiansthat correspond to them in content and style, especially in cases where the literal translation is clumsy and wordy(K. Chukovsky);

4) a dash in a simple sentence: Life live- not field go. On right- sea, left- the mountains; in a complex sentence: Century live- century learn .

3. Rising intonation(raising the tone) is required in all cases when a pause at the boundaries of speech measures (syntagmas) occurs in the absence of a punctuation mark:

Oftenwe can still hear statement:/market in its purest form/no longer exists nowhere, / especially in industrial countries.// cruel delusion.// If not to tell/illiteracy¦and blindness.// Yes, / the state today / tries to correct everywhere market.// Yes,/monopolies/plan their production,/ are fighting for control of market.// But over market,/ but not over anything others!// …Nothing useful from Togo, / what's the story economyaccumulated for century, / the modern economy has not lost. // AND, add,/- can not lose.// For the market and social division labor/not detachable.// And the deeper this division labor, /themes wider, /more branched¦ market.// BUT means,/ and its tools:/money,/price,/taxes,/credit/currency well.// (N. Shmelev, Either strength or the ruble).

4. Logical stress(a special rise in tone, accompanied by the intensity of the sound of the stressed syllable, in texts) conventionally indicated by the icon (") (in the examples, the accented letter is highlighted bold), is allowed only when the semantic selection of the word and phrase in the phrase:

1) within one simple sentence, it is recommended to resort to logical stress no more than once, thus emphasizing new, important information for this statement, since the meaning of the message as a whole changes from a change in the place of logical stress. For example, a proposal Pushkin was born in Moscow can have three options for setting a logical stress, depending on what you need to pay attention to: a) PatShkin was born in Moscow; b) Pushkin familyandwas in Moscow; in) Pushkin was born in Moscowe.

The presence of more than one logical stress in a simple sentence is allowed in a series of homogeneous members, if you need to emphasize each of them: Pushkin's draft is a precious documentent, in which all stadii of the creative process, all of its lasteconsistency, all gradualenia;

2) in a connected text, logical stress helps the speaker to clearly distinguish the beginning of a new thought, emphasizes the auxiliary words that form the compositional beginnings: firstly, secondly, thus, so, of course, naturally, after all etc.;

3) stands out accented word class, the logical underlining of which is typical for public speaking, since with the help of them the speaker expresses his attitude to the subject of speech: very, completely, absolutely, not at all, again, again, earlier, always, annually, usually; is, no, it is impossible, it is possible, it should not be; important, little, much etc.;

4) stand out "reference points" text - words that name the object of speech; first of all, these are terms, as well as words that clarify the meaning of terms, explaining them.

Below is an excerpt from the article by N. Shmelev, divided into speech measures, containing intonational markings and logical stress with a focus on the pronunciation norms of public speech.

Legend:

(/) a continuous oblique line indicates mandatory pauses, (¦ ) a broken oblique line - for possible, optional pauses;

- falling intonation(decrease in tone);

- rising intonation(raising tone);

(") - logical stress (a special rise in tone, accompanied by the intensity of the sound of the stressed syllable, in texts).