Intonation is a fundamental property of
spoken language. Because of its complexity, however, our discussion can only be
considered a basic introduction to this field, which necessarily omits or
abbreviates some aspects that a more comprehensive book would discuss at greater
length.
1. WHAT IS
INTONATION?
Linguists have found many different
ways to characterise intonation, which is also called pitch contour or
pitch movement. In general, however, they agree on the following basic
principles:
- All languages have intonation.
- Intonation is principally the
variation of pitch, but also prominence, over a stretch of speech.
- Intonation has four functions. The structural
function signals the grammatical or structural role of an utterance,
determining, for example, whether it is a question, a request, or an
instruction. The accentual function affects the prominence of a
syllable, and thus plays a role in focusing stress on particular words in
connected speech.
The attitudinal function conveys
the speakers' personal orientations towards what they say, or gives us clues
about how the speakers feel - whether they are uninterested, excited, or
ironic, for example. And the discourse function marks the turn-taking
processes in an exchange between speakers.
- The set of intonation patterns, or
contours, is limited and can be fully determined, but linguists are not in full
agreement about the actual number of different contours.
- In order to analyse intonation,
continuous speech can be broken down into smaller units, but there are
different conventions about how to determine these units.
PITCH
Intonation, as was indicated above, is
mainly shaped by the variation, or modulation, of the pitch of the voice.
Prominence also plays a role, especially in marking the word that carries the
main sentence stress. Our discussion, however, will be focused on pitch, rather
than prominence. We already know from Lesson Two that pitch is related to the
frequency of the vibration of the vocal folds: The faster the vocal folds
vibrate, the higher the pitch. Thus pitch is another way of referring to the fundamental
frequency (F0) of the voice. This frequency is also determined by the
physical size, and consequently by the sex, of a speaker: In general, a male
speaker usually has a lower pitch, at around 120 hertz, than a female speaker,
who has an average pitch at around 210 hertz. We also know that pitch is not a
distinctive feature in English, so the absolute difference between the
fundamental frequencies of individual speakers, or of men and women, is not
significant in terms of segmental phonology. Nonetheless, all speakers can use
intonation to achieve the functions mentioned in the previous section, regardless
of the absolute value of their own fundamental frequency. Thus an individual
speaker can control the pitch of his or her voice, and in so doing may transmit
information of one sort or another. Although no two speakers have the same
fundamental frequency, it is the distinctive contrasts in a speaker's pitch
level and the relative movements that are important to consider, rather than
the absolute pitch frequency. In other words, the important question to ask
when analyzing intonation is whether a change in pitch carries linguistic, or
communicative, significance.
THE TONE UNIT
We can normally break connected speech
down into utterances, i.e. units that begin and end with a clear pause.
While utterances may consist of only one syllable, such as yes or no,
they are normally much longer, as in The other day, while I was in
town, I met Chris, who I hadn't
seen for a couple of weeks. Within
an utterance, we can sometimes also identify smaller units, over which a single
intonation contour extends. Such a stretch of speech we call a tone unit, or
tone group. For example, the simple question (1) below, the longer
question (2), and the statement (3) are all utterances.
(1) When?
(2) When did you say you would arrive?
(3) When he finally arrived, he
discovered his friends had already left.
(1) and (2) each consist of a single
tone unit whereas (3) is made up of two tone units. A tone unit, then, can
extend over a stretch of speech as short as a single syllable, as in (1), or
over a much longer stretch of speech, as in (2).
As we know from Lesson One, intonation
cannot be indicated by 1PA symbols, and there is no other generally agreed
system for writing intonation down. In this manual, therefore, we use
conventional orthography, but without any punctuation, and we mark off tone
units with double slashes, as in the following example:
/ / When he finally arrived // he
discovered his friends had already left //
With the notions of utterance and tone
unit, we have now introduced the last of the units of speech we consider in
this manual: We can say that connected speech consists of utterances; an
utterance is made up of one or more tone units; a tone unit is made up of one
or more feet; a foot comprises one or more syllables; and a syllable consists
of one or more phonemes.
INTONATION
PATTERNS
Within a tone unit, one or more
syllables are usually more prominent than others. The last prominent syllable
in a tone unit is called the tonic syllable, or nucleus. The
tonic syllable is the syllable on which the main pitch movement begins. The
pitch movement may be restricted to the tonic syllable, but often it continues
from the tonic syllable to the end of the tone unit. The tonic syllable, as
well as being prominent, is said to carry tonic stress, or nuclear stress,
and it is this tonic stress which determines the particular intonation
pattern, or tone. The convention we adopt in this manual is that syllables
which carry stress are written in capital letters, and tonic syllables are
written in capital letters and are underlined.
We shall consider five different
intonation patterns, or tones, in RP: fall, rise, fall-rise, rise-fall, and
high key (where the whole intonation contour is at a raised pitch).
These tones can be indicated by the symbols ^ (for fall), * (for rise), (for
fall-rise), (for rise-fall), and 0 (for high key). The symbols are placed
before the tone unit, as in the following examples:
// WHERE do you LIVE // (neutral
question)
// WHERE have you BEEN / / (angry
parent to a child)
// I'll BE there SOON // (reassurance)
// The FILM was WONderful / / (emphatic
statement)
// HOW much did you PAY// (question
signalling surprise at the price)
FUNCTIONS OF
INTONATION
As was mentioned earlier in this
lesson, intonation has four functions. A full description of all the different
ways in which intonation works within each of these broad functional categories
is beyond the scope of this manual. However, it is well worth knowing a few
general points about what the different contours signal. Fall. Apart from being
the most neutral tone in RP, the fall can signal finality and definiteness. It
is surprising that many textbooks describe the rise as the standard tone for
questions. In fact, it is the fall that is quite normal for neutral questions
beginning with a question word. Examples:
There were three people there.
That's all I have to say.
How are
you? Where are you going? What time is it?
Rise. The rise is used
for yes/no questions, for questions which are requests for a repetition of an
answer, and for listing items (except the last item in a list, which is
normally given a fall). When the speaker takes an authoritative or dominant
role in the discourse, the rise is also commonly used, for example in questions
in an aggressive interview, in instructions, or in commands. Examples:
Do you live near here? Can I help you?
Apples, oranges, bananas, and pears.
When did your fever start?
First turn left, then turn right.
Fall-rise. The
fall-rise is generally used to confirm an equal participation in the discourse.
Thus it is used to refer to shared information, to confirm information, to ask
for permission, and to reassure. Examples:
We're leaving at seven, aren't we?
We can't afford it, it's too expensive.
May I open the window?
It'll be alright.
Rise-fall. The
rise-fall is used to express strong personal impression. It can be used to
convey a strong positive attitude, or to express surprise. Examples:
That's a lovely view!
What a goal!
High key. The high key is
normally used to express surprise, strong disagreement, and sometimes strong
agreement. Examples:
Only 28? I thought you were at least 35!
Actually, I think you're wrong!
I quite
agree!
The analysis has been limited to
marking the overall tone contour, without breaking the tone unit down into pre-head,
head, tonic syllable, and tail. As the number of theoretically possible
combinations of intonation contours that may be applied to any exchange is
relatively high, we have transcribed only the spoken text.
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