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b) «'You can 'open a 'small 'tin of ‘corned\beef, if you l ike.»
2) Syntactic (or ordinary) sentence stress falls on words of full meaning (i e on semantically important words in the sentence), e.g: «In the/'kitchen aA woman was'cookingVsupper».
3) Logic sentence stress underlines the logical centre (or centres) of the
sentence, e.g: «vBusiness,/first, |vpleasure "\affcer».
4) Emphatic sentence stress underlines the emotional centre (or centres) of the sentence and in this way helps to express the implication. Examples:
a) «'Come 'here immediately!»
b) «/'Pleasure V first, | duty "/after!» (a proverb turned into a witticism). The word stress is closely interrelated with sentence stress. We shall now try to see their similarity and difference. The demarcation of word stress and sentence stress is very important both from the theoretical and the practical viewpoint. Sentence stress usually falls on the very syllable of the word which is marked by word stress. Thus the accentual structure of the word predetermines the arrangement of stresses in a phrase. At the same time the stress pattern of a phrase 1 See «Sentence Stress in English» by K.P. Gintovt. 1955. (Гинтовт. К.П. «Фразовое ударение в английском языке». М., 1955) is always conditioned by the semantic and syntactical factors. The words which usually become stressed in a phrase are notional words. They convey the main idea of the phrase, though any word including form words may be marked by sentence stress, if it has certain semantic value in the sentence. Thus, Prof. D. Jones writes: "the relative stress of the words in a sentence depends on their relative importance."1 Roger Kingdon gives the following definition: "Sentence-stress is the relative degree of force given to the various words in a sentence.2" G.P. Torsuyev makes an attempt to draw a line of demarcation between wordstress and sentence-stress. He states that sentence-stress is based on the following four principles: musical, dynamic, quantitative and qualitative. Speech melody or pitch level is regarded one of the primary or main components of intonation. Its chief function is to distinguish communicative types of sentence and to divide a sentence unit sense-group or intonation groups. R. Nash distinguishes the following five basic functions of speech melody:(1) the identity function, i.e. the ability of listeners to recognize a language without understanding what is said and to pronounce utterances with a foreign accent; (2) the presentation function, i.e. in every language any utterance is pronounced with some degree of pitch inflection; (3) the structural function, i.e. the speech melody is used to signal structure boundaries and relationships across boundaries; (4) the deistic function, i.e. a certain degree of speech melody, intentionally altered by the speaker, is used to emphasize a particular lexical item of an utterance; (5) the expressive function of speech melody signals the presence of a 1 D. Jones. An Outline of English Phonetics, Cambridge, 1957, p. 262.; 2 R. Kingdon. The Groundwork of English Intonation, L, 1958, p. 160. speaker's emotion. If the emotion is strong, other prosodic elements such as tempo, loudness and voice quality are added1. This shows a close relationship of all prosodic elements and intonation components. Comparing Czech, Polish, Russian, German, French, Hungarian M. Ramparts establishes that these languages do not all exploit the means of melody in quite the
same way which is determined by the difference in the place of melody and by means of differentiation of utterances and not only by prosodic means (stresses,
pauses) and lexico-grammatical means (using question words, special imperativ e
forms, word order etc.). The similarity and difference in the realization of melodic
forms are termed «homonymy and synonymy of means of intonation». Usually the comparative-typological description of various intonation structures in different languages is made on the basis of melody types. According to R. Nash: «In every language, however, there is one (and usually only one) basic pattern which appears to have no other linguistic function than 10 mold a construction into an utterance without adding additional information. This pattern is the presentation pattern, which becomes clear from the presentation function of speech melody” 2.
The general shape of the presentation pattern of speech melody has been isolated for some languages, Graphically, it is a rising-falling curve which each language molds to its specifications. For example, English changes the curve into a shape resembling a “suspension bridge”. The sentence “I saw my friend yesterday” may be pronounced as emphatic and unemphatic, depending on situation.
A) Unemphatic I 'saw my 'friend .yesterday.
B) Emphatic
1 Rose Nash. Turkish Intonation. An instrumental study. Mounton, 1973, pp.30 -38.
2 Rose Nash. Turkish Intonation. An instrumental study. Mounton 1973. p. 55.
3 D. O.Connor. A Course of English Intonation (English by Radio).
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