A sentence with the word speaker

Antonym: hearer. Similar words: speak, speak up, speak for, to speak of, so to speak, peak, maker, lawmaker. Meaning: [‘spɪːkə(r)]  n. 1. someone who expresses in language; someone who talks (especially someone who delivers a public speech or someone especially garrulous) 2. electro-acoustic transducer that converts electrical signals into sounds loud enough to be heard at a distance 3. the presiding officer of a deliberative assembly. 

Listen to four people talking about events in the past. Match the speakers (1–4) with the statements (A–E). There is one extra statement.
A Speaker ___ was embarrassed about taking a break.
B Speaker ___ was anxious about talking to someone.
C Speaker ___ was relieved to find out the truth.
D Speaker ___ was ashamed about telling a lie.
E Speaker ___ was proud of winning an award.

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Новые вопросы по предмету Английский язык

На основании Вашего запроса эти примеры могут содержать грубую лексику.

На основании Вашего запроса эти примеры могут содержать разговорную лексику.

предложение словом

предложение со слов

фразу словом

предложение со слова «

I’m sure you know somebody who can’t say anything about any idea, plan, or activity without crutching the sentence with the word but.

Уверен, вы знаете людей, которые не могут говорить об идее, плане или деятельности, не испортив предложение словом «но».

He started a sentence with the word «atomic» or «nuclear» and then randomly chose words from the auto-complete suggestions.

«Я начинал предложение со слов «ядерный» или «атомный» и потом выбирал одно из автоматически предложенных вариантов.

Do not start a sentence with the word «but».

He just started every sentence with the word atomic or nuclear and gave the phone to fill in the rest.

Он просто начинал каждое предложение со слова «атомный» или «ядерный» и давал телефону заполнить остальное.

I made up a sentence with the word that I had just learned.

Starting a sentence with the word «you» almost guarantees a non-productive conversation.

Начинать фразу со слова «ты» — верный путь к непродуктивному разговору.

You don’t need to finish every sentence with the word «sir.»

You should avoid beginning a sentence with the word «also.»

You should avoid beginning a sentence with the word «also.»

It is grammatically incorrect to end a sentence with the word «and,» but I get so upset when I think about Ike.

Грамматически неправильно заканчивать фразу словом «и», но я так расстраиваюсь при мысли об Айке.

Insert a period after C, delete whereas and begin new sentence with the word Domestic.

Mr. de GOUTTES wondered whether it was necessary to introduce the second sentence with the word «Nevertheless».

Mr. Lallah suggested replacing the words «as to» in the third sentence with the word «affirming» rather than «stressing» or «suggesting».

Г-н Лаллах предлагает заменить в третьем предложении выражение «что касается» словом «подтверждая» вместо слов «подчеркивая» или «предполагая».

The United Nations Appeals Tribunal, by its decision of 10 October 2011, decided to adopt an amendment to article 5, paragraph 1, by replacing the word «two» in the second sentence with the word «three».

В своем решении от 10 октября 2011 года Апелляционный трибунал Организации Объединенных Наций постановил принять поправку к пункту 1 статьи 5, заменив во втором предложении слово «две» словом «три».

There are two reasons why a writer would end a sentence with the word «stop» written entirely in

СУЩЕСТВУЕТ две причины, почему писателю может захотеться закончить фразу словом «точка», написанным целиком заглавными буквами (ТОЧКА).

And it’s incredibly more for the control group that did the sentences without money and way less not only for the people who unscrambled the sentence with the word salary but also way less if they saw Monopoly money in the corner.

Большинство из контрольной группы, получившие предложения без упоминания денег, гораздо реже из людей, получивших предложение с упоминанием зарплаты, и даже люди, с деньгами из монополии, реже обращались за помощью.

Ok, Ferrari CEO Louis Camilleri implicitly stated that he does not intend to listen to «that word» in the very same sentence with the word Ferrari.

Во время презентации в прошлом году, генеральный директор Ferrari Луи Кэри Камиллери заявил, что не хочет слышать это слово «в той же фразе, в которой есть Ferrari».

Ничего не найдено для этого значения.

Результатов: 17. Точных совпадений: 17. Затраченное время: 71 мс

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Корпоративные решения

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Справка и о нас

Индекс слова: 1-300, 301-600, 601-900

Индекс выражения: 1-400, 401-800, 801-1200

Индекс фразы: 1-400, 401-800, 801-1200

1. Intonation. Its functions.

Much has been said about the importance of paying due
attention to intonation when studying a foreign language. The process of
communication cannot be performed without intonation as it has its own
functions in a sentence. These functions are:

1. The constitutive

2. The distinctive

(1) Intonation forms sentences. Each sentence consists
of one or more intonation groups.

An intonation group is a word or a group of words characterized by a certain intonation
pattern and is generally complete from the point of view of meaning.

E. g. You’ll come early | and stay as long as you
can | won’t you ||

Sentences are separated from each other by pauses.
The end of a sentence is always recognized by a long pause; the end of a non-final
intonation group is usually characterized by a shorter pause.

E. g. He’s passed his exam || He is a student now
|| Like most old people | he was fond of talking about old days ||

(2) Intonation also serves to distinguish the
communicative types of sentences, the actual meaning of a sentence, the
speaker’s emotions or attitudes to the contents of the sentence, to the
listener or to the topic of conversation.

E. g. He’s passed his exam ||

Low-Fall      — a statement of fact

High-Rise     — a question

Low-Rise      – a question with surprise

High-Fall      – an exclamation

One and the same sentence pronounced with different
intonation can express different emotions.

Intonation is also a powerful means of differentiating
the functional styles.

2. The components of the intonation

1) Speech melody or the pitch.

The sentence possesses definite phonetic features:
variations of pitch or speech melody, pauses, sentence stress, rhythm, tempo
and timbre. Each feature performs a definite task and all of them work simultaneously.
It is generally acknowledged that the pitch of the voice or speech melody,
sentence stress and rhythm are the three main components of intonation, whilst
pauses, tempo and timbre play a subordinate role in speech.

The pitch of the voice does not stay on the same level
while the sentence is pronounced. It falls and rises within the interval
between its lower and upper limits. Three pitch levels are generally
distinguished: high, medium and low.

The pitch of the voice rises and falls on the vowels
and voiced consonants. These falls and rises form definite patterns typical of
English and are called speech melody.

Pitch Range is the interval between two pitch levels. It may be
normal, wide and narrow.

E.g. I didn’t know you’ve been to London.

The use of this or that pitch (and range) shows the
degree of its semantic importance. As a rule the low pitch level expresses
little semantic weight, on the contrary the high pitch level is a sign of
importance, stronger degree of feeling.

2) Rhythm

Rhythm is a
regular recurrence of stressed and unstressed syllables at definite intervals.

The characteristic features of English speech rhythm
may be summed up as follows:

1. The regularity of the recurrence of stressed and
unstressed syllables results in the pronunciation of each rhythmic group in a
sense-group in the same period of time irrespective to the number of unstressed
syllables in it. Which in its turn influences the length of sounds, especially
vowels.

2. The alternation of stressed and unstressed
syllables results in the influence of rhythm upon word-stress and
sentence-stress.

There are as many rhythmical groups in a sense-group
as there are stressed syllables. Rhythmic groups can be of two types:

·       
enclitics – a rhythmic group in
which an unstressed syllable clings to the preceding stressed syllable.

·       
proclitics – a rhythmic group in
which an unstressed syllable clings to the following stressed syllable.

To
acquire a good English speech rhythm one should arrange sentences:

1)
into intonation groups;

2)
into rhythmic groups;

3)
link the words beginning with a vowel to preceding words;

4)
weaken unstressed words and syllables;

5)
make the stressed syllables occur regularly within an intonation group.

Sentence stress

A separate word when used alone as a sentence is
always stressed. In a sentence consisting of more than one word, some of the
words are left unstressed. They are the words of small semantic value or
those with a purely grammatical function: articles, prepositions, conjunctions,
auxiliary, modal and link verbs, personal and reflective pronouns.

Words essential to the meaning of the utterance are normally stressed (nouns, adjectives, notional
verbs, adverbs, demonstrative and interrogative pronouns). So words that
provide most of the information are singled out by means of sentence stress.

Sentence stress
is a greater prominence with which one or more words are in a sentence are
pronounced as compared with the other words according to their informational
(semantic) importance.

This greater prominence is achieved by:

1. Greater force of exhalation and muscular tension.

2. Changing of the pitch level.

3. Pronouncing the stressed syllables longer.

4. Not changing the quality of a vowel in the stressed
syllable.

The most important piece of information conveyed in
the sentence is called its communicative centre. It may be expressed by
a single word or a number of words. Usually it is the last word in a
sense-group and it carries the terminal tone.

The main function of sentence stress is to single out
the communicative centre of the sentence, which introduces new information. So
it performs a distinctive function and distinguished the speaker’s modal and
emotional attitude to the words.

Sentence stress may vary in degree. It may be full and
partial. Full sentence stress in its turn may be unemphatic and emphatic.

1) Partial sentence stress is indicated by
single stress-marks places below the line of print. E. g. I haven’t the
slightest idea.

2) Full unemphatic sentence stress is indicated
by single stress-marks placed above the line of print. E. g. I haven’t the
slightest idea.

3) Full emphatic sentence stress is effected by
greater force of utterance, greater force of exhalation and lengthening the
sounds. Emphatically stresses syllables become more prominent and sound longer
than syllables with unemphatic stress. It is indicated by double stress-marks.
E.g. Stop talking!

Sentence stress can also be subdivided as to its
function into syntagmatic stress, syntactic stress and logical stress.

Syntagmatic stress presents the most important functional type. Together with the main
tones it singles out the semantic centre of the sentence or a sense-group. In
sentences where no word is made specially prominent syntagmatic stress is
usually realized in the last stressed word.

E. g. I am sending you two tickets for the theatre.

Syntactic (or normal) stress marks the other semantically important words within
the utterance.

E. g. I am sending you two tickets for the theatre.

Logical stress
is connected with the shifting of the syntagmatic stress from its normal place
on the last stressed word to one of the preceding words. It often expresses
something new to the listener and creates a new communicative centre.

Specific features of the English sentence stress

Though we know that usually notional words are
stressed in the sentence  and form (functional) words are unstressed it is
necessary to point out that any word in a sentence may have logical stress. A
word which is made prominent by logical stress may stand at the beginning; at
the end or in the middle of a sense-group but it is usually the last stressed
word in it. Sentence stress on words following logical stress either disappears
or becomes weak.

Besides functional words may be stressed in some
special cases:

I.
Auxiliary, modal and link verbs are stressed in the following positions:

1. At the beginning of the sentence in general and
alternative questions.

E.g. Can you come? Did you meet him?

2. When they stand for a notional verb in short
answers for general questions. E.g. Yes, I am. Yes I have.

3. In contracted negative forms. E. g. He didn’t do
it.

4. to be is stressed when final and preceded by
the object which is unstressed. E. g. I want him to be here.

5. Auxiliary verb to do is stressed in emphatic
sentences. E.g. I do like it!

II.
Prepositions are stressed when they consist of two or more syllables and
are followed by an unstressed personal pronoun. E.g. The dog ran after him.

III.
Conjunctions are stressed at the beginning of a sentence when followed
by an unstressed word.

E. g. When he had gone | she went home too.

If he drives | he may be here at any moment.

IV.
When a personal pronoun is connected by the conjunction ‘and’
with a noun they are both stressed. E. g. My mother and I.

V.
‘Have to’ is stressed in the meaning of ‘must’. E.g. He has to
go.

The general rules for sentence stress are sometimes
not observed: a word that should be stressed according to these rules may be
left unstressed. In most cases it is rhythm that is responsible for the
omission of stress.

Compounds
are influenced in the following way:

1. When preceded by a stressed syllable they are
stressed on the second element. E.g They are all first-class. It is too
old-fashioned.

 2. When used as attributes before nouns stressed on
the first syllable, the stress falls on the first element of the compound. E.g.
She is a good-looking girl.

3. When two nouns occur together the first being used
attributively, the second is not stressed. E.g film-star, telephone-book. But
if the second noun is polysyllabic it must be stressed. E.g. picture gallery,
detective story.

Some words belonging to the notional parts of
speech are not stressed in certain cases:

1. When a word is repeated in a sense-group
immediately following, the repetition  is generally unstressed.

E.g. — How many books have you got?

       — Two books.

2. Word-substitutes like ‘one’ are usually
unstressed.

E.g. I don’t like this dress. Show me that red one.

3. When the word ‘most’ does not express
comparison, but a high degree of quality and is equivalent to ‘very’,
‘extremely’ it is not stressed.

E.g. This is a most beautiful picture.

4. The pronoun ‘each’ in ‘each other’ is
always unstressed.

E.g. They loved each other.

5. The adverb ‘so’ in ‘do so’, ‘think so’ is
not stressed.

6. The conjunctions ‘as’ in the constructions
of the type ‘as well as’ is not stressed.

7. The word ‘street’ in the names of streets is
never stressed. E.g. Oxford street.

Differences with the Russian language

1. Good morning!                           Доброе утро!

    Good night!                                Доброй ночи!

2. She’s as pretty as her mother.      Она так же хороша как и ее мать.

3. He did not say a word.                Он не сказал ни слова.

4. In English the final stress does not fall on the
last element in the word combinations: ‘and so on’, ‘and so forth’, ‘in a day
or two’ etc.

and so on                                       И
так далее.

He will come in a day or two.         Он придет через день или два.

5. In English general questions the final stress falls
on the adverbials or on direct object following the verb (in Russian on the
verb).

Do you speak English?                   Вы говорите по-английски?

Will you go home?                         Ты пойдешь домой?

The Intonation Group

An intonation group may be a whole sentence or a part
of it. In either case it may consist of a single word or a number of words. An
intonation group has the following characteristics: 1. It has at least one
accented (stressed) word carrying a marked change in pitch (a rise, a fall…). 2.
It is pronounced at a certain rate and without any pause within it.

The pitch-and-stress pattern or the intonation pattern
of the intonation group consists of the following elements:

1. the
pre-head – unstressed or partially stressed syllables which precede the
first full stressed syllable;

2. the
head (scale, body) – the intonation pattern extending from the first
stressed syllable up to (but not including) the nuclear syllable;

3. the
nucleus – the syllable bearing the nuclear (terminal) tone;

4. the
tail – unstressed or partially stressed syllables following the nucleus.

He told me he would think of it.

______________________

______________________

pre-head head nucleus tail

There are different types of pre-heads, heads and
tails.

Types of heads.

Head patterns are classified into three groups:
descending, ascending and level according to the way it begins from the point
of view of pitch movement.

Descending heads move down from a medium or a high pitch level to the low one. The
first stressed syllable is the highest.

In the stepping head the stressed
syllables gradually descend in pitch levels, unstressed or partially stressed
syllables are pronounced on the same level as the preceding stressed ones. This
head conveys the impression of  the balanced, active, “normal” mood of the
speaker.

I don’t want to go to the cinema.

_________________________

_________________________

The unstressed syllables may gradually descend in
pitch too. In this case the head is called a falling head.

________________________

________________________

A fall in pitch may not be gradual but rather jumpy
which is achieved by a considerable lowering of the pitch inside the stressed syllables
or by pronouncing unstressed syllables at a much lower level than the preceding
stressed ones. Such a head is called the sliding head. It usually
reflects an excited state of mind and, sometimes, a highly emotional attitude
to the situation.

I don’t want to go to the cinema.

_________________________

_________________________

Ascending heads
are the opposite of the descending heads: their stressed syllables move up by
steps with the intervening unstressed ones continuing the rise and in this case
it is a rising  head.

I don’t want to go to the cinema.

_________________________

_________________________

If the voice moves up jumpy the head is called climbing.
Unstressed syllables glide up too.

__________________________

__________________________

In level heads
all the syllables are pronounced on the same level (or gradually ascends
towards the nucleus) either high or medium or low. So there are three level
heads correspondingly. It is shown by the tone mark before the first stressed
syllable. [        ]

Low head
conveys an impression ranging from cool and indifferent to sulky and hostile.

Types of pre-head

There are two types of pre-head: the low pre-head and
the high pre-head. The low pre-head is pronounced at a low pitch and may
occur in all unemphatic  and many emphatic utterances. Its main semantic
function is to mark the comparative unimportance of initial unstressed
syllables.

The high pre-head is pronounced at a high pitch level. It has a clearly emphatic
function. Before a rising tone it usually gives a bright, lively, encouraging
character to the utterance. The high pre-head is marked by the tone-stress mark
(  ) placed before the first syllable above the line of print.

Types of tails

There are two types of tails: the low tail and the
rising tail. The low tail goes after the falling tone and is pronounced
at a low pitch.

Show me.

__________

__________

The rising tail
occurs after the rising tone and gradually rises in pitch producing the very
effect of the rising tone whilst the word carrying the syntagmatic stress is
pronounced on the lowest level in the sense-group.

Really?

________

________

The notion of “tone”. Static and kinetic tones.

Prominent segments of an utterance are usually
associated with a pitch change (or a pitch contrast) combined with increased
force of articulation and increased duration. Such a cooperation of different
phonetic features is reflected in the notion of the tone – the basic element of
English intonation.

Tones are divided into two classes: static and
kinetic. Static are level tones, their number corresponds to the number
of pitch levels. Kinetic tones are classified according to the following
criteria:

a) the direction of the pitch change;

b) the interval of the pitch change;

c) the relative position of the pitch change within
the speaker’s voice range.

Static and kinetic tones differ not only in form but
also in function. Static tones give prominence to words. The degree of
prominence is proportional to the pitch height of the static tone – the higher
the tone, the greater the prominence. Kinetic tones are more significant for
the sentence.

Kinetic tones perform a number of functions in a
sentence:

1. Indicate the communicative type of a sentence.

2. Express the emotional state of the speaker, his
attitude towards the subject-matter and the situation.

3. Single out the centre of semantic importance in a
sentence.

The most common kinetic tones of Modern English are:

The Low Fall
– the voice falls from a medium to a very low pitch.

The Low Rise
– the voice rises from a low to a medium pitch.

The High Fall
– the voice falls from a high to a very low pitch.

The High Rise
– the voice rises from a medium to a high pitch.

The Fall-Rise
– the voice first falls from a fairly high to a rather low pitch and then rises
to a medium pitch.

The Rise-Fall
– the voice first rises from a medium to a high pitch and then falls to a very
low pitch.

The falling tones carry a sense of completion and
finality and are categoric in character. The rising tones carry incompletion
and are non-categoric in character.

Combinations of nuclei, heads, tails, and pre-heads lead
to a great variety of melodic patterns in English intonation. The melodic
structure of the language is a simple system of patterns based upon the most
important linguistic functions of intonation. Since the most significant
component of intonation is speech melody, and the most important word of an
utterance is made prominent by one of the special tones typical of the
language, it is natural to systematize the melodic patterns according to these
special tones. Thus the great variety of possible patterns can be reduced to
six Intonation Contours (IC), based on the six main tones used in the
nuclei. These tones, when combined with different heads, tails and pre-heads,
give rise to a few significative variants of the intonation contour.