Transcript


00:18
and I'm going to make a small correction
00:21
I noticed it in your notes it's a
00:23
mistake I made in class I when I was
00:25
talking about the dichotomy between
00:28
phonetics and phonology between the
00:31
literary canon people and the literary
00:34
theory people do you remember that
00:35
discussion and I said that in
00:37
linguistics it's between the Chomsky
00:40
people the formalists and the non
00:41
formalists and I said it was called
00:43
structuralism that's structuralism is a
00:47
school of linguistics before Chomsky
00:49
that's what we were doing for a long
00:51
time at least that's the what he calls
00:53
it it's called functionalism if you're
00:56
not a Tomsky person they say you're a
00:57
functionalist a functionalist linguist
01:00
functional or functionalist that was my
01:03
mistake so I'm correcting that I knew at
01:05
the time it wasn't right and I couldn't
01:06
think of the word but I thought of it
01:09
later
01:09
so functionalist functional linguistics
01:11
that means not Chomsky linguistics not
01:15
formal linguistics of course all
01:16
linguistics is formal to some extent
01:18
because you're making formal statements
01:20
about things if you're making
01:21
generalizations that's a formalism but
01:25
that's just sort of a conventional way
01:27
of distinguishing between the Chomsky
01:28
people and the non Chomsky people
01:30
formalists man formulas and then the
01:32
formulas the functionalist that's what
01:34
we do okay that's a correction and just
01:40
a few words about the test did some of
01:45
you not do the tutorials on voicing and
01:48
plosives we're just I'm just curious I'm
01:51
wondering if some of you didn't do those
01:53
tutorials because I did tell you you're
01:56
gonna be tested on them I didn't say
01:57
exactly when it just seems that some of
02:00
you we're not quite prepared for that
02:01
part of the test I will have questions
02:04
probably about that part of the course
02:07
on the final exam so if you haven't done
02:09
the tutorials yet make sure you do them
02:11
there will be more questions on them in
02:13
the final exam okay everybody take note
02:16
of that I hope there weren't too many
02:20
other surprises on the test on Chapter
02:23
three because I did tell you about it I
02:25
think one problem is some of you did not
02:28
check Facebook so
02:31
I know Facebook is a great way to waste
02:32
time but please check in on NTU
02:34
phonetics frequently just once a day
02:37
check and see if there's anything new
02:38
because if something comes up if I
02:40
remember something you're supposed to
02:41
hand something in or whatever it is I
02:44
will post it on NTU phonetics I used to
02:46
have an email list but I don't have one
02:48
this year I decided to do it over over
02:51
NTU over Facebook instead so please
02:54
check into your phonetics once a day or
02:56
so that's that and okay I think that's
03:07
about it make sure that you also read
03:10
carefully the two pages that were
03:13
assigned contractions and schwa elision
03:16
that is also a psychologist i wany so
03:19
make sure that you've read those two
03:20
pages you're familiar with the content
03:22
contractions is page 33 and schwa
03:28
Lycians is page 32 so pages 32 and 33
03:31
make sure that you have gone over them
03:33
carefully in addition not just look over
03:36
them but I said on Monday I want you to
03:38
include notes on these two pages in your
03:41
notes for Monday your class notes also
03:44
add notes on page 32 and page 33 into
03:49
your class notes before you type them up
03:51
and print them out for submission on
03:55
Monday if you for some reason did not
03:59
you think you didn't do very well on the
04:01
tutorials on voicing and plosives on the
04:03
test make sure that you go over those
04:05
and take notes on that as well and put
04:07
those in your notes that will help you
04:09
remember the material because it's very
04:10
very basic we really need that stuff and
04:14
it's my experience not just a tie dye
04:17
but just as a human that unless you
04:19
check people's work they don't always do
04:21
it so this is a way of checking it to
04:23
make sure that you actually do it it's
04:25
to ensure that you learn not to catch
04:27
you or anything like that today we're
04:31
going to concentrate on the textbook
04:33
we're going to try to get through as
04:34
much of chapter 5 as we are able to yep
04:38
that's it we're going to start now and
04:40
we're going to have some demonstrations
04:43
we're now on page 113 degrees of stress
04:46
and I will summarize for a while but I
04:49
may ask people to read at some point so
04:52
be ready for that as well we'll have to
04:53
give the camera time this is about
04:55
degrees of stress and I think you are
04:58
familiar with this from your previous
05:01
English training you learned about
05:03
primary stress and secondary stress is
05:06
that right do we all don't mean and
05:08
soo-dong e but did you get bothered too
05:12
much about secondary stress no and in
05:16
fact in linguistics and phonetics we
05:18
don't bother you too much about
05:19
secondary stress but we're going to talk
05:21
about it today and why there is such
05:24
thing as primary and secondary stress in
05:29
some longer words it may seem as if
05:32
there is more than one stressed syllable
05:34
for example say the word go ahead good
05:40
and try to tap on the stressed syllable
05:43
so pick up a pen and try to tap up the
05:45
stress of multiplication go ahead go
05:49
ahead
05:51
I see most of you have how many taps you
05:55
make two taps where did the first tap go
05:57
small in a second okay multiplication
06:01
multiplication all right now why is that
06:06
you'll find that you can tap on the
06:08
first and the fourth syllables
06:10
multiplication the fourth syllable seems
06:12
to have a higher or the same degree of
06:15
stress multiplication it sounds like it
06:19
has a higher degree of stress the same
06:22
is true of other long words such as go
06:25
ahead try the next one
06:27
it has the same stress pattern doesn't
06:30
it magnification and the next one
06:36
psycholinguistics
06:37
which one sounds like it has more stress
06:44
the first or the fourth syllable the
06:47
fourth right but this apparently higher
06:50
degree of stress on the later syllable
06:52
occurs only when the word is set in
06:54
isolation or at the end of a phrase all
06:57
right from this sentence you can already
06:59
guess where he's going with this if it
07:02
occurs only in isolation or at the end
07:04
of a phrase what are we really talking
07:06
about
07:07
very good louder tonic stress tonic
07:11
stress falls on the final stressed
07:13
syllable of an utterance each drunk wah
07:16
that means a phrase or it could be as
07:19
short as a compound the final stress
07:24
syllable in a stretch of speech you
07:28
don't apply in an utterance receives
07:30
tonic stress that means it has a high
07:32
pitch and falls normally so try seeing a
07:38
sentence such as the psycholinguistics
07:41
course was fun now the problem with this
07:44
is I want you to analyze the problem
07:46
they didn't change this example we found
07:48
the problem a problem with his sentence
07:50
years ago because this hasn't been
07:52
changed at least since I've used the
07:54
book tap it out and see what you find
07:57
read the sentence go
08:01
right but what's the problem here does
08:06
does does the four syllables sound just
08:09
as high as before or does it sound more
08:11
equal to the first syllable what does it
08:14
sound like to you
08:16
all right I'll say it my way and then
08:18
see what you think
08:19
the psycholinguistics course was fun
08:22
what happened
08:25
it sounds higher still right why why you
08:34
can figure it out you have the tools to
08:35
figure it out why does it still sound as
08:39
high a couple of you are saying the
08:46
answer compound noun right
08:50
psycholinguistics course courses not
08:52
stressed and because course is not
08:54
stressed and in addition do we stop
08:59
after course and why do we have a little
09:02
pause after chorus why it's the end of
09:07
the subject so there are two reasons why
09:10
we pause there and that's the end of the
09:12
utterance the psycholinguistics course
09:15
first of all we pause there because it's
09:16
the end of the subject and then course
09:18
is not stressed because it's it's the
09:23
head of this compound noun
09:25
therefore the tonic stress falls on
09:29
grist so we still have we still have
09:33
tonic stress so this sentence is a poor
09:36
example put it in your notes this hat
09:38
needs to be changed in the future
09:39
edition of the book because they didn't
09:41
realize at the time and it never got
09:42
fixed that actually they used a compound
09:45
noun and that does not help us at all
09:47
because it leaves the tonic stress
09:48
'unless psycholinguist sorry quits in
09:51
psycholinguistics course what could we
09:54
do to find a better sentence as an
09:58
example
10:07
how about the psycholinguistic text was
10:10
very interesting it's not a really good
10:13
sentence it's still better if we say
10:15
psycholinguistics but let's just take
10:17
off the essent and make it up if we say
10:20
the psycholinguistic let's say study
10:22
that's better that makes more sense the
10:25
psycho linguistic study we've now turned
10:27
psycho linguistics into an adjective
10:30
right and if we have an adjective then
10:33
we won't be troubled by compound nouns
10:36
dress all right so let's try the psycho
10:40
linguistic text or the psycho linguistic
10:44
study is interesting the psycho
10:47
linguistic study let's make it was that
10:50
sounds more like English the psycho
10:51
linguistic study was interesting all
10:54
right say it to yourself and now tell me
10:57
if you think whist sounds just as high
10:59
as the other times we try or does it now
11:02
sound about equal widths I try it to
11:06
yourself
11:14
does quiz still sound quite a bit higher
11:17
does it sound closer now - sigh now it
11:21
sounds closer to side isn't it the
11:23
psycho linguistic study was interesting
11:26
the psycho linguistic study was
11:30
interesting you really have to be
11:32
careful of tonic stress it's going to
11:35
confuse you if you don't know it's there
11:36
if you don't know about about tonic
11:39
stress because the student just told me
11:41
recently that their teacher said that
11:43
for example in a word in an in a phrase
11:46
like this they'll say the psycho
11:48
linguistic study they'll say that psycho
11:50
linguistic isn't stressed at all is that
11:52
true
11:52
no a lot of English teachers will tell
11:55
you that because they don't know about
11:56
tonic stress so in the future when you
11:58
teach you will know better and please
11:59
tell other people so that they can
12:01
correct this idea it is stressed and
12:03
we've got unstressed and we've got
12:06
stressed syllables and we've got tonic
12:07
stress so we've got three levels of
12:08
stress right but do all three levels of
12:11
stress belong to the word level no why
12:21
do all three all three of those levels
12:25
those different inka all those different
12:28
pitches that were producing do they all
12:30
belong to the same level in other words
12:32
two words stress those are sweet where's
12:34
Jessica tense or not yes or no no
12:39
because because one of them is at the
12:46
sentence level that's right
12:47
tonic stresses at the sentence level its
12:49
intonation it's part of intonation it's
12:51
not part of word stress this confuses
12:54
people and even even a lot of ESL texts
12:59
that come out of the States people who
13:01
are supposed to be experts in English
13:03
they often don't know this and they
13:04
confuse the issues all right so the
13:08
psycho linguistic study was interesting
13:10
now it sounds like they're about the
13:12
same level it says you will find that
13:15
there is no difference between the first
13:16
and fourth syllables of psycho
13:17
linguistics in this modified sentence if
13:19
you have a higher degree of stress on
13:21
the fourth syllable in psycholinguistics
13:23
this word will be given a special
13:25
emphasis as
13:26
though you were contrasting some
13:28
psychology course with a psycho
13:30
linguistics course so he's saying if you
13:32
made took a whole home in what Judah was
13:35
do you suppose I attend the psycho
13:37
linguistics course
13:38
anyways the compound he says that if you
13:41
stress linguists too much it's because
13:43
you're contrasting it with psychology
13:45
the psychology course was interesting
13:47
the psycho linguistics course was
13:48
interesting how you waste anyway somehow
13:52
contrast so anyway compound
13:55
rested by machine so they don't wanna
13:57
show show guy so when I test you I'm
14:00
gonna test you on what I told you now
14:01
not exactly what they wrote here hmm it
14:05
says the same is true of the word
14:07
magnification in the sentence such as
14:09
the degree of magnification depends on
14:12
the lens we have another problem here we
14:15
don't have the problem of compound noun
14:18
stress but try the sentence yourself
14:24
alright listen to me read it and I'm not
14:27
doing anything special or different to
14:29
prove a point this is just the way I
14:30
would read it I want to put this down so
14:33
I can have my pen here to tap the degree
14:36
of magnification depends on the lens now
14:40
in theory magnification the point he
14:43
wants to make is magnification egg in
14:45
the K are about the same pitch right but
14:49
is that what you heard me say no and I'm
14:51
not doing something weird just as how
14:53
find Darrel really it's just the way I
14:55
say it and why did I say it that way
15:00
tonic stress because we don't have a
15:03
compound noun this time but why same
15:07
reason it's the end of the subject so
15:08
we're going to pause whenever we pause
15:10
that means we had a tonic stress right
15:13
before the pause right so this part
15:16
really needs revising professor Johnson
15:18
okay I hope you heard that really the
15:22
word magnification will not have a
15:24
largest stress on the fourth syllable as
15:26
long as you do not break the sentence
15:27
into two parts and leave this word at
15:29
the end of a phrase but we did break it
15:32
because that's what we normally do in
15:33
English if we force ourselves not to
15:35
break it
15:36
Tai Chan Chan LOH why are you telling us
15:38
something to do something
15:39
goes against what we normally do when
15:41
we're speaking English so I take issue
15:44
with this paragraph I'm not I'm not
15:46
dissing the book it's a great book but
15:49
this part needs a little fixing
15:51
all right this part is clear what are
15:53
you saying is that secondary stress is
15:56
an illusion due to due to what reason so
16:03
domine so you go you go Wan Jia because
16:05
of because of chronic stress yeah what
16:11
we're hearing is tonic stress so we
16:12
think that's the primary stress and then
16:15
we hear another stress syllable we say
16:17
that's secondary but in fact he's saying
16:20
here that it's due to tonic stress that
16:22
we hear one stressed syllable as more
16:24
stress than the other why does it seem
16:27
as if there are two degrees of stress in
16:28
a word when it occurs at the end of a
16:30
phrase or when it is set alone which is
16:32
of course at the end of a phrase the
16:35
answer is that in these circumstances
16:36
another factor is present as we will see
16:38
in the next section the last stress
16:40
syllable in a phrase let's just say an
16:42
utterance because it's not always a
16:44
whole phrase an utterance EEP Don quiet
16:47
the Chinese is even clearer than the
16:48
English Heathrow quiet just means a
16:51
stretch of speech I like that but you
16:54
can say an utterance that's fine often
16:58
accompanies a special peak in the
17:00
intonation the tonic accent some people
17:04
call it accent they like to use accent
17:06
for Jesus a good sense
17:08
tae-young accent or real stress we don't
17:10
stress a genuine Sheikh wanna but
17:12
they're the same thing tonic accent you
17:14
will hear often in my accent hey Yong
17:16
lay so the neck again a open sentence
17:19
intonation yo grinds are drawn in in
17:21
longer words containing two stresses the
17:24
apparent difference in the levels of the
17:25
first and second stress is really due to
17:27
the superimposition just at all jaw such
17:31
as like how to shaumyan of an intonation
17:34
pattern does the other grind see our
17:36
bushing weights to the joni in the
17:37
clancy when these words occur within a
17:40
sentence in a position where the word
17:42
does not receive tonic accent then there
17:45
are no differences in
17:47
stress levels okay that's what we just
17:49
demonstrated
17:51
okay next page a lower level of stress
17:54
may also seem to occur in some English
17:57
words okay well since I took a tink T
17:59
drill its she don't he got some that
18:01
jahmiya so you might onyx dress declined
18:03
she does it do you go it's only is it
18:05
the agro when they are going T a lower
18:08
level of stress may also seem to occur
18:10
in some English words compare the words
18:12
in the two columns in table 5.3 the
18:16
words in both columns have the stress on
18:17
the first syllable
18:19
now let's read them carefully left to
18:22
right and then we should know if one of
18:26
the other syllables sounds longer or
18:28
sounds more stressed so read the first
18:31
word on the left good now compare to the
18:35
one on the right does it sound like the
18:39
one on the left has a secondary stress
18:42
multiplied multiple or if it's not a
18:45
secondary stress does it sound like we
18:49
have a stress syllable and unstressed
18:51
syllable and then another syllable
18:53
that's not quite unstressed
18:54
patchi's would see you unstressed no
18:57
munching yo Mayo which which syllable is
19:00
it fly how about multiple does that have
19:03
the same feeling okay some said yes but
19:07
yeah if you said yes or no actually
19:10
younger though John the tone his point
19:12
is that multiplied multiple we can hear
19:16
there's a difference in length right
19:17
which one's shorter right multiply
19:21
sounds longer let's try a couple more
19:23
regulate regular why don't you just
19:26
listen now and then see if you sense
19:29
that the last syllable in column one
19:32
sounds more stressed than the last
19:35
syllable in the word in column two quema
19:37
at all clear regulate regular copulate
19:43
copula circulate circular criticize
19:49
critical minimize minimal does it sound
19:55
like the third syllable and the words in
19:57
column one
19:58
some kind of stress and in the words in
20:04
the column on the right it sounds like
20:06
they're shorter they don't really have
20:08
that stress what is the reason for that
20:09
he's going to explain the words in the
20:13
first column differ from those in the
20:15
second by having note for test by having
20:19
a full vowel in the final syllable look
20:22
we have a full vowel and in all cases it
20:26
is what kind of so wait a full vowel
20:27
system Jana Mui okay a diphthong exactly
20:35
very good they all contain a diphthong
20:37
in the final syllable in the first
20:39
column this vowel is always longer than
20:43
the reduced foul usually a flaw in the
20:47
final syllable of the words in the
20:48
second column so in the second column we
20:50
have a bunch of choise multiple regular
20:54
copula circular including the ER type
20:59
schwa minimal critical dun dun so that
21:05
diphthong is longer we know that
21:07
diphthongs are longer if you just look
21:08
at the structure patterns on the B
21:10
doubts ha because a diphthong actually
21:13
contains two vowels now they're not as
21:16
long as two separate vowels and they are
21:18
squeezed into one sole but they are
21:20
still longer than any monophthong I is
21:24
going to be longer than at or F or any
21:26
amount of fun they're still longer so we
21:29
can expect that the result is that there
21:34
is a difference in the rhythm of the two
21:36
sets of words this is due to a
21:38
difference in the vowels that are
21:39
present it is not a difference in stress
21:41
everybody got that that's the point he's
21:43
making this is a second illusion that we
21:46
have of stress the first illusion was
21:48
due to tonic stress or tonic accent the
21:51
second one is due to defense longer
21:56
vowels there is not a strong increase in
22:01
respiratory activity on the last
22:02
syllable of the words in the first
22:04
column both sets of words have increases
22:06
in respiratory activity only on which
22:08
syllable the first syllable so multip
22:12
why Malta I didn't say multiply I didn't
22:16
have an increase in respiratory activity
22:17
is what he's saying so that doesn't
22:19
count as stress it's just a longer vowel
22:21
it's more prominent Josh Sheehan drew me
22:24
Josh en su being booed Dungy you're Jung
22:26
in okay that was the point
22:28
two very clear points that should be
22:30
easy to put in your notes in summary we
22:32
can note that the syllables in an
22:33
utterance vary in their degrees of
22:35
prominence hashing through the tongue do
22:39
where you put on but these variations
22:42
are not all associated with what we want
22:45
to call stress a syllable may be
22:49
especially prominent because it
22:51
accompanies the final peak and the
22:53
intonation that's tonic stress or tonic
22:55
accent we will say that syllables of
22:57
this kind have a tonic accent given this
23:00
we can note that English syllables are
23:02
either stressed or unstressed so he has
23:05
here a dichotomy a binary system
23:08
you got early on there you go Yoshio
23:11
yeah Brian sit on your ass off yeah burn
23:13
seokjeong in your resume Oh Johnny
23:15
there's nothing in between
23:16
Mayo finding Gmail dwelt only mailed to
23:19
Johnny there's only stress or not
23:21
stressed that's all he has there are two
23:25
other things that happen one is due to
23:27
tonic accent one is due to difference or
23:30
long vowels full vowels okay if they are
23:38
stressed we can say that English
23:40
syllables are either stressed or
23:42
unstressed if they are stressed they may
23:44
or may not be the tonic stressed
23:45
syllables that carry the major pitch
23:47
changes in the phrase high yo meal tonic
23:50
stress Jesus can take a walk wine how
23:52
cunning your cunning your meal if they
23:54
are unstressed they may or may not have
23:56
a reduced foul mayo Joey in a team
23:58
called shot con azúcar schwa yack
24:01
Onimusha gosh Wow kanessa girlfriend
24:03
Santana got Dramamine because it's all I
24:05
was a mayor Johnny Inga clear I had my
24:09
doubts about this for years but I guess
24:11
I've come around and I know except
24:13
pretty much what he says these
24:16
relationships are shown in Figure 5.2 so
24:18
let's work out that little table we've
24:20
got a flow chart on page 115 at the top
24:23
we start with a syllable
24:25
and the syllable is either what or wet
24:28
either stressed or in the event that it
24:32
is stressed
24:33
it may have tonic stress or it may have
24:38
non tonic stress it's not known by the
24:41
way it's nine nine tonic stress so how
24:44
can any ole nigga job you doubt don't
24:46
mean in Chinese by the way tonics dress
24:48
is called et yeah Jolene and I only know
24:52
that because of the psuedo paper I had
24:53
to translate it into Chinese I finally
24:55
figured out the Chinese so you don't
24:57
don't mean is tonic stress it may have
24:59
it it may not another possibility for a
25:02
syllable is it may be completely on the
25:07
right unstressed and don't say
25:09
unstressed by the way I got to eat your
25:11
fine little own stress it's on the tip
25:15
of your tongue touch your alveolar Ridge
25:16
unstressed don't say unstressed
25:18
unstressed and in the event that it's
25:21
unstressed we may have a schwa write it
25:24
very often is a schwa a reduced vowel or
25:27
it may be an unreduced vowel pyoko no
25:34
suit what's the schwa kausika when
25:35
senemo into the male Jong energy so we
25:38
end up with four different possibilities
25:40
which might make some people think there
25:42
are four different levels of stress
25:43
right crema is everybody with me if
25:48
you're not please raise your hand let's
25:50
clarify everybody's with me good we're
25:53
gonna continue Adam of 114 has an 8 -
25:57
understanding the differences between
25:59
these processes or processes I hear both
26:02
and it's hard for me to figure out which
26:03
one I should use I used to use processes
26:06
consider the set of words explain
26:09
explanation exploit exploitation now
26:12
we're going to have examples of what we
26:14
were just talking about if each of these
26:16
words is said in a citation form as a
26:19
separate tone group the set will be
26:22
pronounced as shown below and we're
26:24
using a schematic representation of the
26:26
intonation peak so the intonation peak
26:28
is indicated with that arrow pointing
26:31
upwards
26:31
the stress is where let's read the words
26:35
across from explain go right go
26:38
explain the second one explanation so
26:42
we've got stress on two syllables
26:43
they're both X and Nate but one of them
26:48
has tonic stress all right
26:51
the next word the stress is on the
26:56
second syllable Floyd or sploit exploit
26:59
I have a soother and it also has in
27:04
addition to word stress it also has
27:07
tonic stress because it's in isolation
27:10
so you'll need good su trejo get Joe
27:12
Mean Joe satanic stress so it's got two
27:14
reasons for sounding really prominent
27:15
exploit has word stress and tonic stress
27:18
the next one to the right X
27:22
Floy good how many stresses do we have
27:26
to both on X and Tay but Tay also has
27:33
chronic stress it's got two reasons for
27:35
being prominent so it sounds higher
27:38
exploitation exploitation let's look at
27:43
the text below you can see the IPA right
27:47
under it another way of representing
27:50
some of these facts or what they're
27:51
saying here is that if you compare never
27:56
mind it'll be clearer in another table
27:58
let's wait for a minute another way of
27:59
representing some of these facts is
28:01
shown in table 5.4 this table shows just
28:06
the presence plus or absence - of an
28:09
intonation peak a tonic accent a stress
28:12
and a full vowel in each syllable in
28:14
these four words considering the
28:16
considering first the stress in the
28:18
middle row
28:19
note that the two syllable words are
28:21
marked plus stress on the second
28:23
syllable in the four syllable words are
28:24
marked as plus stress on both the first
28:27
and third syllables we've already gone
28:29
over this but this will make it even
28:30
clearer let's look at the top of 116 so
28:34
let's go over the whole thing that we
28:36
just did now but this time we're using
28:38
minuses and pluses that will make it
28:40
even clearer explain where's the plus
28:43
plane right explanation its son we're
28:48
talking about tonic accent now diga have
28:50
yelled as a tonic
28:52
so I should have made that clear so the
28:53
tonic accent is on plane it's always on
28:55
the final stress syllable for
28:58
explanation it's on nay for exploit
29:01
light and for exploitation all right
29:05
we've got a plus on the tonic stress for
29:09
each of those words now just ordinary
29:11
word stress we're not thinking about
29:13
tonic stress now just plain ol word
29:14
stress just as soon as I go sound sit
29:17
and we have all of the same answers
29:19
except we have two additional answers
29:21
namely in explanation it's also on X and
29:26
an exploitation also on X so that's word
29:29
stress for word stress we get two
29:31
stresses for the longer words and
29:33
finally let's mark the full vowels for
29:37
explain again it's the same a is a is a
29:41
diphthong so that obviously gets a plus
29:43
as a full vowel explanation is X a full
29:47
vowel yes it's not a diphthong this time
29:51
but it is a full vowel it's not
29:52
explanation you could say it explanation
29:56
but it sounds a little odd I usually say
29:57
explanation I use a full vowel there so
30:00
we give a plus for all the full vowels X
30:02
gets one and play gets one exploit
30:07
exploit exploit I have a full vowel on X
30:10
by the way I do differently exploit he's
30:13
trying to exploit the workers you can
30:15
say exploit yet piously gosh wha but if
30:19
I read it in isolation I usually give it
30:21
a full vowel but let's just for the sake
30:23
of argument let's say it's a schwa
30:24
exploit yeah we're just going to say
30:27
that for the sake of argument woman she
30:29
they're way less shouldn't've ha I
30:30
probably would use a full vowel and then
30:33
for the noun the the abstract noun we
30:37
have X and we have ploy from the
30:40
previous from the previous lines but we
30:42
also have boy because that is a full
30:46
vowel we have a diphthong there so we've
30:48
got three pluses and exploitation
30:50
how many stresses does it have word
30:53
stresses too but it may sound like it
30:56
has three maybe because of the Oi
31:00
a full vowel that's his point he just
31:02
wants to illustrate
31:03
same thing that we just discussed okay
31:10
second paragraph on 115 as you can see
31:12
by comparing the middle row with the top
31:14
row the last plus stress syllable in
31:16
each word has been marked plus tonic
31:19
accent there is a plus in the third row
31:22
if the vowel is not reduced like exploit
31:26
note that the difference in rhythm
31:28
between explanation and exploitation is
31:31
that the second syllable of explanation
31:34
has a reduced vowel but this but this
31:37
syllable and exploitation has a full
31:39
vowel let's see if you can sense a
31:42
difference in rhythm
31:43
listen explanation explanation
31:48
exploitation exploitation I think the
31:52
length is about the same frankly but
31:54
plan is reduced employee is not reduced
31:57
so it sounds more prominent top agenda
32:00
be gel time because of Joseon jewel
32:02
because it's a full vowel especially
32:04
since it's a diphthong okay alright mmm
32:09
he's using this to build up to a theory
32:11
that's coming and you have pretty much
32:13
most of the elements already as we saw
32:15
in the previous chapter there are a
32:17
number of vowels that do not occur in
32:19
reduced syllables we didn't get that we
32:21
haven't done a previous chapter you'll
32:23
find it out depending on how much of
32:24
chapter 4 we can finish before the end
32:26
of the semester
32:27
furthermore the actual phonetic quality
32:30
of the vowel in a reduced syllable
32:32
varies considerably from accent to
32:35
accent and we just Illustrated that
32:37
because I said I usually use a full
32:39
vowel and which word exploit I don't
32:43
usually say exploit I say exploit as far
32:45
as I know when I'm thinking about it I
32:48
say exploit when I'm not thinking about
32:49
it I'm not paying attention so I don't
32:51
know
32:52
we have transcribed the first vowel and
32:54
explained as if because that is the form
32:57
Peter Latta fo'get used explained
32:59
explained and that's more common in
33:02
British English choise I in seeing you
33:04
Tom Hangzhou zit or book and you'll find
33:08
that and that's why you learned like for
33:10
example patted
33:13
you men share this it so you'd eat this
33:16
away then they go KK sit it did a high
33:19
yo for example roses is debe de well
33:23
Johnny man y'all share roses is young
33:24
shraddha today
33:25
she's an even here on the niggas is
33:27
coming just in seeing you today and I
33:30
can confirm that with my British I've
33:32
confirmed it with my British English
33:33
teacher I'm gonna tell wanna hang Jolla
33:34
cheers the innocent you'd be job where
33:37
you own it may should be Yahweh uncle
33:39
okay so they've left it the way Peter
33:43
Latta fo'get transcribed is it's
33:46
explained explain some other books this
33:53
is hard to hold with both of them will
33:55
try this okay do not make the
33:57
distinctions described here maintaining
33:59
instead that there are several levels of
34:01
stress in English now some other books
34:05
they don't tell you which ones but they
34:07
go in the direction of formalism okay
34:11
maintaining instead that there are
34:13
several levels of stress in English the
34:15
greatest degree of stress is called
34:16
stress level one the next level to the
34:18
next level three a lower level still is
34:20
level four and so on
34:22
note that in this system a smaller
34:24
degree of stress has a larger number so
34:26
the larger the number you're Chien
34:28
Andalou team number one is the strongest
34:31
you can easily convert our system into a
34:34
multi level stress system system by
34:36
adding the number of plus marks on a
34:38
syllable in a table of the sort just
34:41
used and subtracting this number from
34:43
four
34:44
alright let's try that and see if it
34:45
works if we want to find out the stress
34:49
level according to these saw way to
34:50
other books how many what level of
34:55
stress for example is plain and explain
34:58
that means add up the number of pluses
35:00
and subtract it from four what's the
35:02
answer look at yeah that's right I heard
35:06
the answer look at a table five point
35:08
four at the top of 116 again got it now
35:13
in order to determine the level of
35:16
stress according to this Solway the
35:17
other system from other books we add up
35:20
the number of pluses in each columns and
35:22
that kind of
35:23
sylia was a boozer pie so look at
35:28
Aaliyah and then count the number of
35:29
pluses and subtracted from four so if we
35:32
looked at the if we look at the plain
35:33
and explain what's what level of stress
35:37
does it have what number do we assign it
35:39
one because it's how many pluses 3 and 4
35:44
minus 3 is 1 that's how it works
35:46
how about what is the level of stress
35:48
for X and explain we add up the number
35:55
of explained add up the number of pluses
36:01
and subtract it from 4 in explain X yeah
36:07
the letter right the number we assign it
36:08
is four cuz it has no pluses right 4
36:11
minus 0 is 4 let's try another one the
36:14
excellent explanation some of you
36:16
probably jumped ahead to explanation so
36:18
if you look at the X and explanation
36:20
count up the pluses subtract from four
36:23
what degree of stressed we assign that
36:25
to we've got two pluses 4 minus 2 is 2
36:29
let's try the exploit the exploit and
36:35
exploitation what level do we assign
36:37
that one and how about how about the
36:44
word X how about the syllable exploit
36:46
just exploitation to achieve
36:49
exploitation the tape that's what I
36:51
really meant to talk about so exploit
36:53
yes it won me let's walk tonight down
36:55
got exploitation what level of stress is
36:57
assigned to teh one that's 4 minus 3 is
37:02
1
37:02
how about the 8 in exploitation what
37:06
level do we assign that 3 right it
37:10
should be unstressed completely
37:12
unstressed but because of the because of
37:17
the full vowel the diphthong we're
37:18
giving you we're giving it a point here
37:21
okay
37:22
so that's how that works writing the
37:26
stress levels as super scripts after the
37:28
vowels you will find that explanation
37:31
and exploitation are 2 4 1 4 etc
37:35
and you can see the rest in your book so
37:37
those are the levels that we just
37:39
assigned ourselves we do not consider it
37:41
useful to think of stress in terms of a
37:44
multi-level system so he keeps saying
37:46
other groups say this and by saying
37:49
other what is he telling you he's saying
37:53
some books do this so what is he telling
37:55
you about his own feelings I don't agree
37:58
all right he doesn't agree he doesn't
38:00
buy that you can figure out their system
38:02
by following just by drawing one of
38:04
these tables and you will be able to
38:06
assign every syllable a stress level 1
38:10
through 4 according to those other books
38:12
but he thinks it's not useful to do that
38:15
he feels that descriptions of this sort
38:17
are not in accord with the phonological
38:19
facts okay I feel like Val Tyler yeah
38:21
that doesn't add it sounds lead-time and
38:24
he did definitely have a very strong
38:26
jauntily song and you can guess very
38:28
much both from comments I make and from
38:30
things you see in the book but as it is
38:33
so commonly said that there are many
38:35
levels of stress in English we're now on
38:36
116 at the top page 116 first paragraph
38:39
we thought we should explain how these
38:42
terms are used he's saying I think that
38:44
this is not useful to be polite yeah he
38:48
could you could say it's a bunch of
38:49
nonsense or something but he says it's
38:50
not useful but I thought I should tell
38:52
you because other books will find you
38:54
will have it and he will come and ask me
38:56
well what's wrong didn't I learn it this
38:58
way but this book says it that way and
38:59
you will find that in the future that's
39:03
why we try to mention what other books
39:05
say sometimes for example we insist on
39:09
being written with two symbols but we'll
39:12
tell you that it's often written like
39:14
this in other books so that when you see
39:15
it you won't freak out and you will know
39:17
that it's a different point of view for
39:20
a different purpose different analysis
39:22
it makes sense on its own terms but it's
39:24
not the one that Peter Latta fo'get
39:26
adopts okay in this book however we will
39:31
continue to regard stress as something
39:33
that either does or does not occur on a
39:35
syllable in English so he says there's
39:36
no such thing as primary and secondary
39:38
stress there's just stress and other
39:41
effects that you notice are either due
39:43
to tonic stress tonic accent or two full
39:47
vowels
39:48
in an unstressed syllable we can
39:54
sometimes predict by rules whether about
39:56
will be reduced to schwa or not for
39:59
example we can formalize a rule stating
40:01
that boy never reduces you can put that
40:04
in your notes we haven't had that yet
40:05
it's in Chapter four but boy never turns
40:08
to schwa as far as we know it never
40:10
happens it's just one of those weird
40:12
vowels that insists on maintaining its
40:15
own identity you know that in a group of
40:17
people there's often a person who maybe
40:20
grows his hair really long wears a hat
40:21
and then wears really unusual clothes
40:23
and no matter what he will just insist
40:27
on being like that other people will try
40:28
to dress like everybody around you but
40:30
this person just dresses exactly like he
40:32
wants wherever he goes I have a friend
40:34
like that I don't need to go into more
40:36
detail but he dresses up like an Indian
40:38
how's it da da da da da also trying to
40:40
ended up trying to fool John so you will
40:43
see my friend anywhere you see somebody
40:44
who's a white American but looks like an
40:47
Indian that's my friend so he has a good
40:50
you know who it is he has a very strong
40:52
identity and he's very comfortable with
40:54
that he never turns to a schwa he will
40:56
never turn to a schwa he is always a toy
40:59
okay you got it so he's very much
41:03
confident and happy with what he is and
41:05
he never changes
41:06
most of the other vowels will turn to
41:09
ash wah under some circumstances not all
41:11
of them but most of them will oh is one
41:14
that does not but other cases seem seem
41:19
to be a matter of how recently the word
41:21
came into common use factors of this
41:24
sort seem to be the reason why there
41:25
should be reduced vowels at the end of
41:27
postman bacon gentlemen but not at the
41:32
end of mailman more on Superman
41:37
okay did you notice that if a word is
41:40
very recent and we're not very familiar
41:41
with it yet will we tend to put a schwa
41:44
there in the end the unstressed syllable
41:46
if it's by John DiMaggio Tschida you
41:49
guys seen that the woman waits in Changi
41:52
young schwa has a boo young schwa boo
41:56
Yong schwa
41:57
just put your trap we shall see the
41:58
super young strap
42:00
we will pronounce the vowels really
42:01
clearly because it's not that well-known
42:03
it has a relatively higher wet
42:07
information value machine jobs would be
42:10
gel called uh we're not going to use a
42:12
schwa anyway won't be shut down and
42:15
change to three found beat up will only
42:16
eat slow down yeah John naked Busan the
42:19
Michelle need an attack why you wouldn't
42:21
ham hold her table don't Jana hadn't
42:23
changed it has higher table you know
42:25
maintained off that's the purpose of
42:28
schwa it is very much like the purpose
42:31
of the team Chun and Beijing Mandarin
42:33
remember when we were talking about
42:36
Chinese white radish number when you're
42:38
talking about Chinese white radish what
42:40
do we call it in Taiwan we call it nigga
42:44
bye boo Yong what do you call it right
42:47
but in Beijing you'll call it right now
42:50
is that a familiar vegetable be tired in
42:55
Nashua is that a familiar vegetable it's
42:58
extremely familiar it's one of the most
43:00
common vegetables you have bites high
43:02
and low boil right in Taiwan we have a
43:05
different situation Mandarin was brought
43:07
in as an outside language an outside
43:09
dialect it was imposed on Taiwan I'm not
43:12
getting political here I have no
43:14
particular political leanings but
43:16
Mandarin was brought in Mandarin would
43:19
not be spoken by so many people unless
43:21
it were imposed on Taiwan most people
43:24
would probably be speaking with me 90 in
43:27
Gaza Bao has a duel even now I said oh
43:30
sure but Mandarin was imposed as the
43:33
official national language used for
43:35
education culture all kinds of fields so
43:40
in the Mandarin that came in how you
43:43
would in Shunyi and I remember I had
43:44
this discussion with you before ha Jin
43:47
Lian has a PR Sonny
43:48
pop was a Beijing language you like Jo
43:50
Jo Jo Jie Sakura Java bamboo bamboo SAP
43:54
a genuine nigger chowder done and uh it
43:58
was by all kinds of people anybody who
44:01
could manage was teaching Mandarin
44:02
they followed the textbook and they used
44:04
full tones this is the best explanation
44:06
that I have and I have looked into this
44:08
sweet nikolaos Mao Shan Shan Mian Shi is
44:11
unity
44:12
the shop woman be jump away on schwa ubw
44:15
change some changes the type you have
44:17
someone's and do the same thing so she
44:19
do
44:20
listen um I saw she want my job without
44:22
your nicotine sound for you now you're
44:25
very familiar with Mandarin your manner
44:27
is probably your best language much
44:28
better than your mean eye or even if you
44:30
speak me now you maybe we don't tell you
44:32
something your way or you push always
44:34
she or see you and so mom she Guana
44:37
because that's the way your parents and
44:39
your grandparents were taught so you
44:40
just kept the system up see my de sousa
44:43
my busan and shows she and Sonny wife
44:46
and South Sudan the in citation form
44:48
Thai what I wanted to achieve was the on
44:51
citation form Kirsten about the early
44:54
defend i dint in sequence so it's a
44:56
normal language for you the funny thing
44:59
is that there are lots of change done in
45:01
Beijing Mandarin right and some people
45:04
like to like to explain things that
45:05
happen in Taiwan Mandarin by saying
45:07
Ana's Amina you danger don't you always
45:09
hear that doesn't mean I you didn't show
45:11
that's why Taiwan Mandarin sounds the
45:12
way it does the funny thing is that mean
45:15
I are you meeting Jim
45:23
I'm gonna give you a gonca because this
45:26
is your language I don't want to just
45:28
dump the facts on you because I've
45:29
studied it and I have some facts ready
45:31
but everybody this is story I'm gonna
45:33
ask you next time mean I am your team
45:35
she'll use whatever sources you can find
45:38
internet books anything you can find
45:41
but if you ask like an old person who
45:44
speaks good mean I you you may not get
45:47
the information as fast because they
45:48
don't analyze it how many old meals what
45:51
were you your fancy so I want you to go
45:55
and find out as best you can whatever
45:56
sources you want to use now if you want
45:59
to go to jail nigga mean I you could
46:03
unless you're good then they can tell
46:04
you the best but there are also
46:05
textbooks there's the internet there a
46:07
lot of places I want you to tell me if
46:09
me now you can teach them the reason I
46:11
say this is because you think that big
46:14
that the reason that taiwan mandarin has
46:17
almost no change um woman Chivo mayo
46:19
team shown right saalu this is somehow
46:21
the what the dome-shaped up and my
46:24
comment meant nigga money kyocho kind of
46:29
soo so aside from these shoots she was a
46:33
male teen gender war boy and teams with
46:35
a lower ball so we would expect that
46:38
mean i who probably doesn't have change
46:39
on either maybe it does maybe it doesn't
46:41
i want you to do the research
46:43
alright but the thing is we're going
46:45
back to choise in english when we use a
46:47
schwa there's a dial so you Shangaan the
46:50
so she do a Jane Yolen is your element I
46:52
would get high cash wha so look at these
46:54
words here we have post postman postman
46:59
we say postman not postman we say
47:01
postman that's an older word it was old
47:03
when I was young alright so it's pretty
47:05
old so postman bacon that baked on
47:09
gentlemen we don't say gentle man a
47:12
gentle man to go home window denying but
47:15
gentlemen sistership we um but for
47:18
mailman we don't say male men normally
47:20
we say mailman and we also say moron we
47:23
don't see more in no shower deed sitting
47:26
down so Gionta okay moron say goodbye to
47:29
all right
47:31
nigga watch it being why you're good I
47:34
mean when we hand out more on who your
47:37
teacher I see you would've done better
47:38
so yo nigga ant with Judah say your ETA
47:41
and sound symbolism there more I'm down
47:44
on the machine so these are more fine
47:46
you could jump down to position does it
47:48
put the boots again Tommy it again and
47:50
Superman we don't say Superman we say
47:53
Superman yeah right
47:56
so anyway it depends on so she did
47:59
Superman City I've seen the don't see me
48:01
on my cell
48:01
not team Shanghai Beijing honey man you
48:04
serious so she don't she don't change
48:06
done yoshino don't she you can you
48:09
change language on like a full tone same
48:12
with strong English and that's a pretty
48:14
good place to break or take a break
48:16
first question which Alice asked I
48:19
believe yeah Dana
48:21
Cindy window my own EOD I'm sorry the
48:24
cycle linguistic the osa nigga my hope
48:27
today okay
48:29
the psycho linguistic study is
48:31
interesting was my original sentence and
48:33
then I changed it to was I said that
48:35
sounds like a better sentence to me more
48:37
like an English sentence and Ruby was
48:39
asking me why and they were guessing
48:41
because of the the cittadini shot and
48:45
that's what is the reason if we just
48:47
said psycholinguistics study is
48:50
interesting would be fine
48:52
so like gosh she met you and she found
48:55
in again Johanna all true then we would
48:58
use is and no problem because it's a way
49:01
a generalization fences to get all mushy
49:04
but this is the the studies too shiny
49:07
and chill and I say was because what can
49:14
I tell you if it's interesting if I have
49:16
not read it and be honest no I won't be
49:20
honest I'll say Oh a really interesting
49:23
study but I haven't read it now we have
49:26
to have read something in order to say
49:28
if it's interesting or not and if we
49:29
have already finished reading it then we
49:32
say was interesting when I was reading
49:34
it
49:35
interesting even though it's still
49:36
interesting now I'm talking about my
49:38
feeling when I was reading it so Ning
49:40
glossary say hmm that psycho linguistic
49:43
study was interesting hey Shou what
49:46
daughter so would your the my old shoe
49:47
okay k ma I'm not talking about psycho
49:51
linguistics in general so that was that
49:52
that was a very a very astute question
49:55
that was good and then this is up here
49:58
because Alex was asking about if stress
50:02
is fixed in words in a lot of words the
50:04
stress can be either one syllable or
50:07
another syllable and in this case how do
50:10
you read the word you stressed this
50:13
syllable and that's the most comment but
50:15
it can also be cigarette cigarette he
50:18
smokes cigarettes
50:19
he smokes cigarettes doko e a lot of the
50:23
words that have variable stress like
50:24
this are from French and French
50:26
loanwords how about this word employee
50:29
or employee he has 14 employees
50:34
employees so kawaiii employees typically
50:37
but either of these is okay and either
50:39
of these is okay so there are a lot of
50:41
words like this and there's another word
50:43
I can't remember now I just seem to
50:44
remember starts with a where there are
50:46
three different syllables that can be
50:48
stressed all are fine but that's not the
50:50
majority of English words you should get
50:52
the stress right okay usually it's just
50:55
one syllable that can be stressed we're
50:57
moving on now to sentence rhythm middle
50:59
of page 116 the stresses that can occur
51:02
on words sometimes become modified when
51:05
the words are part of sentences so we're
51:08
going to talk about international
51:10
effects now how intonation is going to
51:13
affect words stress we already know
51:15
about compound noun stress this equation
51:17
and we know about tonic stress tonic
51:20
stress we know is going to affect word
51:22
stress it makes stress is higher for
51:24
example they sound more prominent here
51:26
we're going to talk about having too
51:29
many stresses too close together in
51:32
sequence we don't like having a stressed
51:36
syllable immediately followed by a
51:38
stressed syllable and we also don't like
51:40
having a stressed word followed by
51:43
another stressed word in another
51:45
stressed word if we have too many stress
51:46
where its title
51:47
should be Eli - at all when we go Tina
51:51
Jordan weepy far too many stresses we
51:54
get tired because the purpose of stress
51:56
is to make something stand out contrast
51:58
with something else and if everything is
52:00
being made prominent then we get
52:02
fatigued so we have a way of avoiding
52:05
that in language how do we read each of
52:08
these words separately v lot a fourth
52:10
line under sentence for them go Mary
52:14
Mary and it's not Mary it's Mary there
52:17
we go
52:25
okay this is a very famous sentence now
52:27
because we've been using this this
52:30
sentence for over 10 years it's funny
52:32
it's it's just funny to have such a
52:34
silly sentence turn up so many times all
52:37
right so when there's that in isolation
52:38
Mary younger brother wanted 50 chocolate
52:41
peanuts now I just said it as a sentence
52:43
and it sounds kind of choppy right in
52:46
isolation that's how we read them but
52:48
there are normally fewer sentence
52:50
stresses when they occur in a sentence
52:52
such as Mary's younger brother wanted 50
52:56
chocolate peanuts try it
53:01
there we go what did we do we alternated
53:06
the stresses every other word is
53:09
stressed and the words in between we
53:11
didn't stress them because it just was
53:13
too many stresses so I'm Joel bloom they
53:15
are found only in Harlem Johnny and
53:17
tight daughter title oh I'm enjoyable in
53:19
the old enfant so mean so some people
53:22
catching Java so we say it marries
53:25
younger brother wanted 50 chocolate
53:27
peanuts thus the first syllables of
53:29
younger wanted and chocolate are
53:30
pronounced without stresses but with
53:33
their full vowel qualities make a vow up
53:35
with sewing shop
53:36
Joseph's stress not Yahweh tied to all
53:38
of the same kind of phenomenon can be
53:40
demonstrated with monosyllabic words if
53:42
we have a syllable of monosyllabic
53:46
content words we're going to do the same
53:48
thing so try this sentence try reading
53:52
it yourself the second line of the
53:54
second paragraph go okay and by the way
54:01
we don't say white they get bigger this
54:04
one has Canadian raising white it's not
54:06
white it's white wide white remember
54:10
when we were talking about noodles
54:11
remember the noodle discussion okay
54:13
white wide white wide everybody that's
54:19
right so it's white not why yeah at
54:22
least in probably a majority of
54:24
Americans speech mmm all right so we've
54:29
got all of these monosyllabic stressed
54:31
words so what do we do the big brown
54:34
bear bit 10 white mice the big brown
54:39
bear bit 10 white mice we alternated
54:42
stresses we did something else that I
54:44
keep reminding you of when you're
54:45
reading what else did we do it's not as
54:49
obvious but we've mentioned it in class
54:51
and I keep correcting you when you don't
54:52
do it pause exactly very good because
54:56
they're a monosyllabic and they have
54:57
stresses like I said we don't like
54:59
stresses close together so we pause if
55:02
there's nothing else we can do we have
55:04
no unstressed syllables that we can use
55:06
to pad the between put padding in
55:09
between the two stress syllables
55:12
then we just put pauses there so the big
55:15
brown bear big pause that's the end of
55:18
the subject bit ten white mice we're
55:22
gonna pause it's just too heavy too much
55:25
without the pauses we also alternate the
55:28
level of stress so those are two
55:31
different things we do to make that
55:32
sentence a little more listenable as a
55:36
general rule English does not have
55:38
stresses too close together very often
55:40
stresses on alternate words are dropped
55:43
in sentences where they would otherwise
55:45
come to near one another the tendency to
55:49
avoid having stress is too close
55:50
together may cause the stress on a
55:52
polysyllabic word to be on one syllable
55:54
in one sentence and on another syllable
55:57
in another so go higher we go ahead er
56:00
Jiu Li Xiang and it'll be in the
56:02
exercises as well how do you say hey
56:05
wine or Dunhuang wine okay let's not fly
56:09
out by the way it's clear clear yeah
56:11
clarinet all right
56:13
so van de lune in its clarinet but if we
56:17
put it in front of ah that's even ELISA
56:21
yo yo no NT what's the problem
56:25
compound noun stress again it's being
56:27
ignored
56:28
that's I remember this year after year
56:29
and it doesn't get fixed so it should be
56:31
clarinet solo how did it Joe mean do
56:35
well I suppose a boy be ended clarinet
56:37
solo
56:44
I'm trying to think of something with
56:46
clarinet where it wouldn't be a compound
56:48
noun he had it clarinet solo now this
56:53
isn't the way I would say it if you
56:54
really want to emphasize solo and he'd
56:56
written those solo they did look it used
56:58
to feed on join me out then you would
57:00
say it this way
57:00
he had a clarinet solo not a duet okay
57:04
contrast is oh it's a man in this is not
57:07
a good example but stress does move this
57:10
way so clarinet clarinet solo so if it
57:15
were cigarette we would probably do the
57:17
same thing you can say cigarette he's
57:21
smoking a cigarette but this is a a
57:24
cigarette holder Jesus Emile domine
57:27
woman domine highs away eat don't die a
57:29
cigarette holder cigarette holder Ocoee
57:32
you ain't said nigga fool hoods to the
57:34
hot woman johan mankind's was a good
57:36
she'll walk because they yo heels always
57:38
he plays the clarinet clarinet solo
57:43
that's what he's trying to say but
57:44
actually it should be clarinet solo but
57:46
nevermind the stress is on the first or
57:48
the third syllable depending on the
57:49
position of the other stresses in the
57:51
sentence similar shifts occur in phrases
57:54
such as vice president Jones versus
57:58
Jones the vice president vice president
58:01
Jones president muna mahjongg vice
58:04
president Jones versus Jones the vice
58:07
president vice president Jones ah so
58:12
president nigga Joe mean how Shambo yah
58:15
HeLa Jim Mayola vice Picciotto meow vice
58:18
president Jones versus Jones the vice
58:21
president numbers such as 14 15 16 are
58:26
stressed on the first syllable when
58:27
counting so let's count from 13 go 13 or
58:31
18 okay that's how we count but
58:35
sometimes not in phrases such as she's
58:37
only right usually if it's the predicate
58:42
just
58:43
eg right upward then it's going to be on
58:47
the second syllable 16
58:49
she's only 16 she's only 17 if you say
58:53
years old then they both get stressed
58:56
she's 17 years old she said yo yo Johnny
59:01
she's 16 years old yesterday uh Toyotomi
59:05
because teen benign suka shits it really
59:08
means teen really means what ten teen
59:14
girls a ten-mile six canteen doses
59:16
shoots this way by my damn cathode Oh
59:18
Johnny
59:18
that explains why the stress can ship
59:20
you and and up and I know you don't mean
59:22
duck alright let's look at this next
59:26
paragraph it says try tapping on the
59:30
indicated syllables while you read the
59:32
next paragraph let's just read it
59:35
ourselves first go tend to recur at
59:41
regular intervals of time it's often
59:45
perfectly possible to tap on the
59:48
stresses in time with the metronome okay
59:51
does it sound pretty regular to you
59:54
that's and that's how English stress
59:58
tends to work that's why we call it
59:59
stress timed take a stressed-out Shagga
60:02
stress seongjun book wine you'll toss
60:04
out the Mayo join the NGA take a
60:07
stressed out nigga stressed agenda is a
60:08
table tongue that's the theory of
60:10
stressed timing a lot of people say it's
60:12
not true it's nonsense but we do have
60:14
that tendency look guys I'm not sure
60:16
Jules it's a question let's test it okay
60:19
with metronome okay I want you to try to
60:26
read it now you see it
60:31
that's pretty fast is let's slow down
60:36
okay that's nice and slow for you go
60:40
stresses in English I think it's a
60:44
little too slow let's make it a little
60:46
faster that's pretty good
60:53
let's try stresses in English tend to
60:57
recur at regular intervals of time it's
61:01
often perfectly possible to tap on the
61:04
stresses in time with the metronome the
61:07
rhythm can even be said to determine the
61:10
length of the pause between phrases and
61:13
extra tap can be put in the silence as
61:16
shown by the marks within the
61:19
parentheses okay how did that work looks
61:24
like you had fun
61:25
good yeah fine okay I hoped you would so
61:29
this paragraph shows that English stress
61:32
seems to a curve fairly regularly it
61:35
worked okay didn't it it sounded fairly
61:37
natural it did sound sing-songy just
61:39
like ding dong bell pussy's in the well
61:41
it sounded a little bit like la mama but
61:43
it still was pretty normal English we
61:47
have that tendency but if you want to
61:48
make it absolute what we're gonna have
61:50
problems so you take your dough end on
61:52
naked don't need a shag it's on me blue
61:54
sikhircha Dre de dum telegram sheet
61:56
you'll take a tree summary but there
61:58
really is such a tendency I don't care
62:00
what people say a lot of people are
62:02
strongly against it but I think it's
62:04
very useful to think of it that way
62:06
figure five point three shows another
62:09
example of speech rhythm this musical
62:11
notation of the rhythm of the first 47
62:13
seconds of Barack Obama's victory speech
62:15
after the Iowa primary election of 2008
62:18
shows that he came in on the beat after
62:23
interruptions by a cheering crowd of
62:26
supporters even after a long
62:28
interruption of 16 beats this and other
62:31
instances of public speaking are so
62:33
noticeably rhythmic that some artists
62:35
have set them to music
62:36
dubbing rhythm tracks under the spoken
62:40
word now we can I can
62:42
you won I don't have one ready but I'll
62:43
find one on youtube if you want to but
62:45
first of all this is new obviously
62:47
because Barack Obama was not president
62:49
during the early editions this is added
62:51
by Professor Johnson so why don't we
62:53
listen I won't give you the the gin
62:57
because it's kind of distracting so
62:58
let's just listen to the audio
63:07
were you following along alright can
63:11
most of you read music or not because I
63:13
discovered a lot of Taiwanese don't
63:14
actually read music do can you read
63:16
music
63:17
some of you can let's listen to it again
63:20
if you don't know musical notation this
63:26
is a quarter note this is an eighth note
63:29
this is a sixteenth note and then these
63:34
are rests this is an eighth rest this is
63:39
a quarter rests all right quarter yeah
63:41
it's an eighth rest this is a half rest
63:45
and this is a quarter rest so this one
63:50
is two beats this is one beat this is
63:52
half a beat creates a mess yeah all
63:54
right and the rest of them you can kind
63:56
of figure out he doesn't use any half
63:57
notes here
63:58
that guy just downs it so follow
64:01
carefully in the musical notation if
64:03
you've got three okay three notes
64:11
together that means postures nigga femp
64:15
eight of these these should be eighth
64:16
notes I think okay so three eighth notes
64:19
together it's da da da da limp a do a
64:22
little sometime pay the Hendrie again
64:24
let's listen just one more time
64:26
all right does it sound kind of musical
64:27
already they said and then he goes on he
64:32
is really an outstanding speaker he's
64:34
one of the really really good speakers I
64:36
think in American politics historically
64:39
speaking as well and there's been some
64:40
really good speakers when you when you
64:44
become a high official you learn how to
64:46
speak even if you didn't before I don't
64:48
know if you remember with tons APA but
64:51
he used to be very someone's long longer
64:53
but then he became much smoother after
64:55
he became president he learned this
64:58
January night
65:00
this January night okay
65:03
and that's quite parallel at this
65:06
defining moment in history go you have
65:11
done what the cynics said we couldn't do
65:15
okay he uses rhythm to great advantage
65:18
in his speaking there's another thing
65:22
that they do with people who sometimes
65:25
are interviewed for a news story and
65:28
they'll say something kind of funny and
65:30
other people will set it to music I'll
65:32
see if I can find it on YouTube here
65:34
what valid AI in sound get you into the
65:37
modes a little - Lila so lots of people
65:39
are watching this now this is popular so
65:41
here we go they use something called
65:43
auto-tune have you heard of auto-tune do
65:49
you know what it is can you explain it's
65:57
it's a kind of software if you are
65:59
recording as a singer and sometimes you
66:02
hit the wrong pitch they can use this
66:04
software to make you sing on pitch but
66:07
y'all fools we could die jack and all of
66:11
you have heard it on the radio do you
66:12
sometimes hear people that suddenly
66:14
start sounding like computers okay maybe
66:20
I should show you what auto-tune is
66:22
first it's also called the share effect
66:25
you know Sonny and Cher she's a pop
66:28
singer from my generation Cher
66:33
maybe when you hear you should you'll
66:35
recognize her she was popular when I was
66:36
your age okay Cher
66:40
but don't say sure let's share her
66:48
you heard it you've heard that in pop
66:50
music right that's done by auto-tune do
66:54
you like that effect Amy not so sure the
66:57
rest of you you depends is that Amy
67:03
that's okay and for some of you think
67:05
it's okay okay
67:07
I personally despise it I can't stand it
67:09
I can't stand it I really hate it and in
67:12
pop music now they rely on it too much
67:14
and a lot of people get lazy about their
67:16
singing because they know that the
67:17
software can adjust their pitch when
67:19
they sing wrong if they're singing out
67:21
of tune so that's auto-tune
67:23
I really really dislike it but anyway
67:25
it's it's used way too much in pop songs
67:27
now you've heard it a lot now auto-tune
67:30
is used to turn people's line sentences
67:36
that people say in interviews that
67:37
strike strike some people is funny and
67:39
they turn them into silly songs and
67:41
that's what happened with this one
67:43
that's so popular that it popped up
67:44
right away
67:50
she's saying I got bronchitis nigga
67:53
stayin it's a cheap wanyan bronchitis is
67:56
a cheap one yet and she says ain't
67:58
nobody got time for that may or Daniel
68:01
Cohn she sings down the beam it sounds
68:04
something says I say let me I'll count
68:05
you something hi mala so ain't nobody
68:08
got time for that it was a it was a nice
68:10
interview you can see it yourself on on
68:12
YouTube and they just thought that her
68:14
interview to the honey oak agenda it's
68:17
in black English and they made it into
68:19
this song now there's a guy a fat guy
68:24
dancing in a leotard it's alright so
68:26
anyway that's that's what they're
68:28
talking about here I think this is what
68:29
he's talking about so we're talking
68:31
about speech and rhythm there's a
68:32
definite rhythm we're on page 118 and he
68:42
says of course not all sentences are as
68:46
regular as those discussed in the
68:47
preceding paragraphs sentences tend to
68:50
recur a sorry not sentences stresses
68:53
tend to recur at regular intervals it
68:55
would be quite untrue to say that there
68:58
is always an equal interval between
69:00
stresses in English so we say that
69:02
English is stressed time as opposed to
69:05
what for French the two that we usually
69:08
contrast are stressed timed for a
69:12
language like English German is also
69:15
stressed timed as opposed to French
69:17
which is syllable timed right and
69:21
they're saying that each syllable is
69:23
about approximately the same length but
69:26
that's not true of French either if you
69:28
want to measure it's not quite true but
69:30
we do have that impression there is that
69:33
tendency and that's why these terms and
69:35
ideas are still useful it is just that
69:39
English has a number of processes that
69:41
act together to maintain the rhythm we
69:47
have already mentioned two of these
69:48
first we saw that some words that might
69:50
have been stressed are nevertheless
69:52
often unstressed thus preventing too
69:55
many stresses from coming together so
69:57
when we alternate stress in a word with
70:00
a lot of content words in a sentence
70:02
a lot of content words then that's one
70:05
way we regulate the rhythm we get rid of
70:07
some of those stresses when we feel
70:08
there are too many to give another
70:11
example both wanted and pretty can be
70:13
stressed in she wanted a pretty parrot
70:16
but may not be stressed in my aunt
70:19
wanted ten pretty parrots my aunt wanted
70:24
ten pretty parrots as soon as we get too
70:26
many stresses then we start distressing
70:28
some of them because it gets to be too
70:31
fatigued a second we saw that some words
70:34
have variable stress compare the unknown
70:36
man with the man is very good unknown so
70:43
if it's the predicate at the end of the
70:44
sentence that's one thing that's called
70:48
a shul you actually in Chinese surely
70:51
horseshoe pool then it will often have
70:55
the stress at the end but if it is
70:56
modifying a now and if it occurs before
70:58
a noun then the stress will be more to
71:00
the beginning this is pretty common we
71:02
can also consider some of the facts
71:04
mentioned in the previous chapter as
71:05
part of the same tendency to reduce the
71:08
variation in the interval between
71:10
stresses we saw that the vowel in speed
71:12
is longer than the first vowel in speedy
71:15
and this in turn is longer than the
71:17
first vowel in speedily memorize this
71:19
you might need it in the test okay so
71:22
speed in isolation is pretty long speedy
71:26
that he has gotten shorter because we
71:28
have to fit two syllables in to about
71:30
the same time right everybody follow
71:33
what I'm saying speed we've got just one
71:36
syllable so it can be very long and lazy
71:38
but speedy has two syllables so each
71:41
syllable has to be faster you ain't get
71:43
how does judge endo travel to a time so
71:45
he's young three I no longer enjoy honey
71:47
I'm quiet yeah cream up so the ease
71:49
gonna get shorter and if we say speedily
71:52
it's going to get even even shorter and
71:55
don't say you for door everybody look at
71:56
my mouth shorter yeah that's order
71:59
shorter shorter watch that hmm okay so
72:03
that's speedily this can be interpreted
72:05
as a tendency to minimize the variation
72:08
in the length of words containing
72:10
a single stress that means you could
72:12
tattoo ego chong-in the chief wants this
72:14
shot Fuquan has an eager India lianca
72:16
India Sunday India
72:17
Oh mr. Jinnah not hot Sun this is a
72:19
giant table top speed speedy speedily
72:25
okay that type italiano studi no child
72:28
or even though one has one one has to
72:31
one has three syllables is that okay
72:33
everybody's got that and this can be
72:37
interpreted as a tendency to minimize we
72:39
did that so that adjacent stresses
72:42
remain much the same distance apart okay
72:45
did we did we recite ding dong bell in
72:48
class you get Tommy out of dingdong Bell
72:50
I'm a oh ma
72:52
ok I did it for dyeing England but not
72:53
for this class it's a mother Goose rhyme
72:56
called dingdong Bell and that's the
72:59
first line how many how many how many
73:02
syllables in the first line we have
73:05
three ding dong bell and how many beats
73:07
do we have ding dong go how many beats
73:11
two beats and three syllables right
73:13
we're going to give each line two beats
73:16
okay and I want you to count the
73:19
syllables in the last line and listen as
73:23
the syllables grow in length the number
73:26
of syllables increases with each
73:28
successive line so listen
73:30
ding dong bell pussy's in the well who
73:33
put her in
73:35
little Tommy Lynn who pulled her out
73:37
little Tommy stout what a naughty boy
73:40
was that to try to drown poor pussycat
73:41
who never did him any harm but killed
73:43
the mice in his father's barn all right
73:48
so ding dong bell how many syllables
73:50
three syllables two beats three
73:53
syllables the last line also has two
73:55
beats but how many syllables but kill
73:57
the mice in his father's barn but killed
74:02
the mice in his father's barn
74:12
count carefully but killed the mice in
74:17
his father's barn some of you missed the
74:21
ears and father's because they're all
74:23
one syllable words except father's so
74:25
you don't wait little father's the earth
74:26
but kill the mice in his father's barn
74:32
how many nine syllables dingdong Bell
74:35
three syllables is as long as but kill
74:38
the mice ins father's barn okay bad
74:41
illustrates that I think as clearly as I
74:43
can illustrate it how Johnny Luke was a
74:47
young young daughter Joanie who gran in
74:49
jet side door sighs shop
74:51
tangelo chop it off everyone's got that
74:53
alright that's the point here we're on
74:59
to intonation now we still have a little
75:01
time we have hope for making headway
75:03
here so I'm sorry we're not having
75:05
people read today because I just wanted
75:06
to get through this listen to the pitch
75:08
of the voice while someone says a
75:10
sentence you will find that it's
75:11
changing continuously we're so used to
75:14
it that we don't even notice it but the
75:16
pitch is constantly changing we're at
75:18
the bottom of 118 now the difference
75:20
between speaking and singing is that in
75:22
singing you hold a given note for a
75:25
notable noticeable length of time and
75:27
then jump to the pitch of the next no so
75:29
listen to the pitch Angelo who sign
75:34
listen to the pitch it's gone by so fast
75:36
and we're still on side or Leon are you
75:39
singing down down to what deep what
75:42
deeds of is also side okay that's a
75:45
color yeah I was I was 16 years old at
75:48
the time
75:49
all right so yeah Angelo who and then
75:52
listen to the pitch Leon that's all we
75:54
got so we're still holding that first
75:57
pitch and we've already set a whole
75:58
phrase the point is that pitch changes
76:01
really fast in speech and singing we'll
76:04
hold it for a longer period of time
76:05
until we get to the next note that's
76:07
what he's saying here but when one is
76:11
speaking there are no steady-state teach
76:13
pitches if we if we lengthen a syllable
76:16
it sounds weird and there's a reason for
76:18
it for example if you say
76:21
daddy then you have something in mind
76:25
right you want to borrow some money or
76:27
whatever it is okay you have a certain
76:30
purpose normally we don't hold pitches
76:32
that long speech hmm throughout every
76:35
syllable in a normal conversational
76:37
utterance the pitch is going up or down
76:39
try talking with steady state pitches
76:42
and notice how odd it sounds go try it
76:49
okay we have a roomful of robots or
76:53
monks chanting at a Funeral right uh-huh
76:57
you can't really do that with Chinese
76:59
can you because you're gonna lose all
77:01
your tones but you could try to do it
77:03
because there are Chinese robots too
77:05
right
77:07
just pick a Chinese sentence Tong to end
77:09
the Year Guang try to say that with the
77:12
steady state pitch
77:16
what happens is it still recognizable it
77:22
is cuz everybody knows that poem right
77:24
but try it again
77:29
is it still Chinese not quite you
77:34
recognize it because you know that poem
77:36
but it doesn't sound like correct
77:37
Chinese anymore does it
77:38
so how did Chinese robot sound do they
77:42
lose their tones completely like
77:44
shutting down or something like that you
77:46
must have Chinese robots do they lose
77:49
their tones
77:49
sushant booty anima you guys aren't sure
77:52
I can see you're asking each other
77:54
anybody know for sure all right if
77:57
you're not sure please put it down and
77:58
I'll ask you next time I want you to
78:00
tell me do Chinese robots lose their
78:02
tones I'm not sure either because when
78:09
my kids turned on shot being done I went
78:10
to another room all right so the
78:14
intonation of a sentence is its pattern
78:16
of pitch changes the part of a sentence
78:18
over which a particular pattern extends
78:20
is called and bold words watch out for
78:25
the test yes international phrase so
78:28
that's one thing we can call up a blank
78:31
why because an international phrase
78:34
includes a tonic stress so what I was
78:38
calling a Thuong claw or an utterance
78:40
here we're calling an international
78:41
phrase if it includes one tonic stress a
78:44
short sentence forming a single
78:46
international phrase is shown in
78:47
sentence 1 below we know the new mayor
78:51
we know the new mayor that's a single
78:54
international phrase in this and all the
78:58
subsequent illustrations of different
78:59
intonations in this chapter two curves
79:01
are shown the top one represents the
79:04
changes in pitch for British speaker and
79:06
the one below for an American speaker
79:08
are they very similar just looking at
79:13
this page are they similar
79:18
largely that's it do you think they're
79:23
similar or not similar they're pretty
79:26
similar aren't they and that's another
79:28
thing that I have sort of looked into
79:30
since knowing my British men for so long
79:32
is we differ on vowels we differ on some
79:36
consonants but we don't differ much in
79:38
intonation British and American English
79:40
they have some special intonation so we
79:43
don't have we have some special ones
79:45
they don't have but for the most part we
79:49
share most intonation
79:50
most of them are pretty much the same in
79:52
British and American there is not that
79:54
much difference it sounds different it's
79:57
mostly their vowels and consonants ok
80:01
our intonation are largely very very
80:04
similar except for a few we each have
80:06
our own personalities they are not
80:09
completely smooth curves because they
80:11
show the actual pitches of the
80:13
utterances on the CD the irregularities
80:16
reflect how the vocal folds vibrated
80:18
when producing these sentences so you're
80:21
in big weights up but they just took
80:23
something called a pitch track and you
80:25
have this in pot if you want to play
80:27
with it it's called pitch track it'll
80:29
just mark your fundamental frequency
80:33
that way till to it need a GP and then
80:37
draw a line showing your your intonation
80:40
so you can do that with pot if you want
80:42
you can do with wasp even wasp is much
80:44
simpler it'll just show it for you but
80:47
in order to get your GP and your
80:49
fundamental frequency what is the change
80:53
of ginger couch n in order to get a
80:57
fundamental frequency what you have to
81:00
have first what's the prerequisite
81:06
yes Boise right so you have to have
81:10
voicing for example II in order to get a
81:16
pitch track if you don't have voicing
81:19
the software's clever it will try to
81:20
guess but it'll usually it'll be drying
81:24
like so we are in the shop it'll go
81:30
crazy it because that's right because of
81:36
all those high frequencies and the
81:38
fricatives they try to design the
81:40
software so it it knows that and it
81:42
doesn't get all mixed up because of it
81:44
but it's very difficult even really
81:46
clever programmers have trouble with
81:48
that so if you're using pitch track it
81:50
will not be accurate with voiceless
81:52
sounds I can tell you that right now
81:53
I don't know if I'll put it in the test
81:55
but you shouldn't know that so when
81:57
you're using a pitch track if it's
81:58
voiceless we have no way of finding out
82:01
what the fundamental frequency is and
82:03
that's what determines the intonation is
82:05
the fundamental frequency how fast your
82:08
vocal folds are vibrating in most cases
82:12
there is no pitch scale indicated as it
82:15
is usually the relative pitches within a
82:17
phrase their importance of tequilas
82:19
shank data we are cheats on reject
82:21
really the engine the time scale varies
82:23
from utterance to utterance allowing the
82:26
graphs to fit the dimensions of the page
82:27
time inch is a wide trend you wind it up
82:29
in g's on the colder nigga Goudy and
82:33
they got quiet and good and it's ice and
82:36
only she does a kind nigga Union are you
82:37
the sentence spoken is shown below the
82:42
pitch curve in ordinary spelling but
82:44
with IPA stress marks added here we're
82:46
not using IPA because we're more
82:48
interested in stress so we're not going
82:49
to worry about the vowels and consonants
82:50
so much but there's also a single
82:53
syllable that stands out because it
82:54
carries the major pitch strain a change
82:56
this syllable carries the tonic accent
83:01
tonic stress same thing
83:03
I don't distinguish they're the same to
83:04
me tonic stress tonic accent and we will
83:07
mark those with an asterisk and you
83:09
already know how to do that right from
83:11
our quiz that we have with compound
83:13
nouns dress right we use an asterisk to
83:16
show
83:17
tonic accent or tonic stress there's a
83:21
pitch peak on the stressed syllable no
83:23
indicating that this syllable also had
83:25
an accent
83:26
although the tonic accent on mayor is
83:29
more prominent now it looks like mayor
83:31
is lower but we know the new mayor the
83:35
reason for that is the more we talk the
83:37
closer we get to the end of a sentence
83:39
or the end of a paragraph what happens
83:41
to our voice it slowly gets lower and
83:46
lower the pitch gets lower and lower at
83:48
the beginning of a new topic a new
83:50
paragraph we start out high and
83:52
energetic and the more we talked the
83:54
more bored your listener gets right and
83:57
the less energy we have and when we're
83:59
finishing up our voice is quite low
84:01
there's down stepping that's called
84:03
declination declination we'll see it in
84:07
the book so you have to worry too much
84:08
now the tonic accent usually occurs on
84:13
the last stressed syllable in a tone
84:16
group in neutral intonation
84:19
I wouldn't say usually it's always it's
84:21
always the last stress syllable in a in
84:25
an international phrase that gets the
84:27
tonic stress okay it always is that way
84:31
and if it's not then you've started a
84:32
new phrase but it may occur earlier if
84:38
some word requires emphasis in that case
84:42
I say home Anthony she had sa-do's a
84:44
deep ain't doubt they're unstressed so I
84:46
would still say that it's the final
84:48
stress syllable in an international
84:49
phrase for example in this in this
84:53
sentence we know the new mayor it's
84:58
still the final stress syllable we know
85:00
the new mayor implies what we don't know
85:04
the old one we only know the new one so
85:06
we're contrasting that's contrastive
85:08
stress sometimes there are two or more
85:11
international phrases within an
85:13
utterance when this happens the first
85:16
one ends in a small rise which is called
85:18
up continuation rise we're going through
85:22
this fast first because it's getting
85:25
close as innocent
85:26
we have to hurry but ii don't you know a
85:29
lot of this stuff already yeah a lot of
85:34
it you heard me
85:35
nag you about i'm always nagging you
85:37
when you're reading right i've told you
85:40
most of this stuff already both in my
85:42
nagging and in the sugar then at the end
85:44
of the day no gpn those three articles
85:47
the ones that I told you to reread and
85:49
take notes on this is pretty much the
85:52
same stuff and this is partly where I
85:55
learned some of it anyway boo fen was a
85:57
totally straight thought that I learned
85:58
other parts of it elsewhere and some
86:00
from personal experience but the point
86:02
is this stuff should already be familiar
86:04
material to you in this class the
86:08
continuation Rhys indicates that there's
86:10
more to come and the speaker has not yet
86:12
completed the utterance the break
86:13
between two international phrases may be
86:15
marked as in sentence three by a single
86:18
vertical stroke and I told you that
86:19
before
86:19
just as possible so hence huh jozek et
86:22
al says yeah
86:23
if it's the end of a sentence and we
86:25
have a longer pause then it's a double
86:27
vertical stroke downtown says
86:30
that's be jail time to pause the British
86:36
speaker in three signals that there's
86:37
more to come by having a full fall on in
86:41
when we came in we had dinner alright so
86:45
he pauses that in the American speaker
86:48
does this by prolonging the word in
86:50
which starts at the peak of the pitch
86:53
contour so when we came in we had dinner
86:57
so that's just two different ways of
87:00
managing of 2d processing the same
87:03
information when we came in we had
87:05
dinner when we came in we had dinner
87:08
they're doing the same thing in slightly
87:11
different ways in three the to
87:14
international phrases can be associated
87:15
with the two syntactic clauses within
87:18
the sentence all right now we're talking
87:20
about Chifa and I'm not really into
87:25
syntax and I definitely don't do Chomsky
87:27
but their approach to it is definitely
87:30
reflected in intonation so all of those
87:32
trees that you draw in syntax
87:34
member yeah they reflect what we do in
87:38
intonation they are real they're not
87:39
just something made up by people who
87:41
have nothing better to do they really
87:43
exist we do organize speech in different
87:48
levels and we reflect that in our
87:50
intonation the different stresses the
87:52
pauses those will all be reflected in
87:54
those trees you draw a syntax class okay
87:57
so I mean work on that take it seriously
88:00
and then try to connect it to phonetics
88:02
and you'll find a lot of interesting
88:04
stuff so here it's the syntax that tells
88:08
us we have to break when we came in we
88:10
had dinner
88:11
alright so pause we finish this new
88:14
clause and he's going to say that it's
88:17
the information that matters so it's
88:20
difficult to tell not only where the
88:22
intonation breaks occur but also where
88:24
the tonic stress will fall as one
88:26
linguist put it in to nation is
88:27
predictable if you are a mind reader now
88:29
I don't agree with this and when I
88:32
correct you I bet most native speakers
88:35
would agree with me the way I tell you
88:37
to read if I tell you to pause here
88:38
continuation rise here most native
88:41
speakers haven't analyzed it and they
88:43
can't give it names but they will tell
88:44
you to do it in the same way I don't
88:46
know if any of you had class last year
88:48
with Sarah Brooks didn't anybody have
88:50
Sarah Brooks for teacher just one person
88:53
all right and did she teach you similar
88:55
things and how to read when to pause not
88:59
so much but I've seen her students
89:01
perform and they perform beautifully she
89:03
doesn't do phonetics
89:04
that's not her specialty but her
89:06
students sound beautiful when they
89:08
perform
89:08
she teaches them through imitation yeah
89:13
that's the teacher who took my place
89:15
when I was away last year
89:16
she teaches them through intonation and
89:19
she tutors them she mentors them how a
89:21
food out Hammond and she gets the same
89:23
results without giving it the same names
89:24
most native speakers would agree and
89:27
just like with Chinese if you listen to
89:29
the Seawind bulbar in you and Shepherd
89:32
jewel boy
89:32
they will mostly blend you in the same
89:35
way it's the same thing you have to know
89:41
what is in the speaker's mind before you
89:43
can say exactly what will be accented
89:44
but not really if you're reading
89:46
something in Conte
89:47
Sam shell one a-team how's this yeah
89:50
uh-huh it's something interesting all
89:54
right
89:54
if you have the context and you know
89:56
what's going on then you really can't
89:58
predict most of the stresses your boot
90:00
on the trench is redundant but most
90:02
people will agree and probably the best
90:05
interpretation when speaking slowly in a
90:08
formal style a speaker may choose to
90:09
break a sentence up Oh Bamiyan oratory
90:13
would produce a large number of
90:14
international phrases and that was true
90:17
of tons ray-ban as well he stopped
90:19
constantly yeah this is sung is it a
90:22
shot yeah the sound of the teacher do
90:23
you still remember him okay all right
90:27
look him up on YouTube or something and
90:30
listen to him talk and he he chopped his
90:32
speech up into very very short phrases
90:34
that's what he did and that's what Obama
90:36
does speakers usually do that when they
90:39
have a big audience because they want to
90:40
be understood easily and if you speak
90:44
too fast people won't catch everything
90:48
but in rapid conversational style there
90:50
is likely to be only one per sentence
90:53
now that's a big generalization but when
90:55
we are conversing we speak in shorter
90:57
bursts gzb Gerald wine so we have fewer
91:01
clauses like that not like the
91:04
politicians do it
91:06
okay and I guess we better stop there
91:09
we've got another section coming up and
91:12
let's see how much we have left we are
91:19
not going to be tested on Toby and Toby
91:22
starts on page 127 and goes through 129
91:29
130 right we're going to just look at it
91:36
briefly we're gonna look at Toby briefly
91:38
the reason is because I'm not really
91:41
happy with the presentation of Toby in
91:42
this textbook I just what was in Hawaii
91:44
I think you should learn Toby but maybe
91:47
learn it from a different source so
91:48
we'll just go over the ideas behind Toby
91:51
it's a way of marking intonation with
91:54
just a few symbols with letters and
91:58
stars and things and that will be about
92:02
it so this chapter if we're if we really
92:04
push we may finish it next time I know
92:08
it's really rushed but like I said I
92:09
think you know most of this material
92:11
already the stuff that's new pay special
92:13
attention to it because that will
92:14
certainly be in the test and I would
92:17
like you to start on the exercises page
92:19
131 and we'll do the performance
92:23
exercises as well these are not so bad
92:27
start early and you're already perfectly
92:29
able of doing all the exercises if
92:31
there's anything unclear just check the
92:32
text so start doing the exercises they
92:35
will probably be due in another week
92:37
today is the fifth five plus seven is
92:41
twelve so probably on the twelve that
92:43
guys says December twelfth will need to
92:45
hand in the exercises are there any
92:47
questions are we okay
92:50
so we're going to finish this up fast
92:52
and then we're going to go back to
92:53
chapter four that's it
92:55
don't forget to go back to the web pages
92:59
that you didn't if you didn't do them
93:01
carefully before on the schwa on trial
93:03
ition on contractions I want you to know
93:07
the difference between formal and
93:09
informal contractions you need to be
93:11
able to tell me what's the difference
93:12
between a formal and in
93:14
contraction and also we use them
93:17
differently for example one of them we
93:19
don't use in writing also the three
93:22
should the articles also the tutorials
93:27
on voicing implosives if you need to
93:28
review those that's it we will see you
93:30
next Monday