Intonation is a hallmark of oral speech

In oral sounding speech, a variety of means are used that enrich it, make it expressive, emotional, and enhance its impact on listeners.

What are these funds? What are they?

Famous Russian linguist A.B. Shapiro characterizes them in this way: “... In oral speech, we make many such pauses, rises and falls in tone, slowing down and speeding up the tempo of speech, changes in the timbre of the voice, etc., which are never noted and cannot be noted in a written text already after the mere fact that this day would require a huge number of different signs - probably not less, and possibly more than they are required for musical texts (cf .: sharps, flats, syncopations, etc.).

It consists of several components.

1. Intonation consists of raising and lowering the voice - this is the melody of speech.

2. Speech is accelerated or slowed down - this forms its pace.

3. The intonation is also characterized by its timbre, which depends on the target setting and can be gloomy, cheerful, frightened, etc.

4. Pauses are also part of intonation. It is very important to do them in the right place, since the meaning of the statement depends on this.

5. In each phrase there is a logical stress, it falls on the word that is the most important in meaning.

Pause(Latin pausa, from Greek pausis - “cessation, stop”) - a temporary stop of sound, during which the speech organs do not articulate and which breaks the flow of speech.

When we talk, then we divide the sentence into semantic segments, such pauses are called intonation-logical.

Logic pause can be an insidious sorceress. The fate and life of a person sometimes depend on it. Sentence passed: Execution cannot be pardoned. What should the performers do? If you read Execute / cannot be pardoned, then the convict says goodbye to life. If you read You can not execute / pardon, then his life is saved. This example is widely known. It is included in various tutorials.

There are pauses intonational-syntactic, they correspond to punctuation marks in written speech and differ in duration. The shortest pause is at the place of the comma, and the longest one is required by the period. An intonation-syntactic pause separates homogeneous members of a sentence, plug-in constructions, appeals in sounding speech; a pause fills in the place in the sentence where the omission of a word is implied.

logical stress

logical stress- this is a semantic stress, it can fall on any word in a sentence, depending on the desire and tasks of the speaker. It highlights the most important thing in a sentence.

Let's take, for example, offer Brother goes to school.

If you highlight more with a strong accent on the first word, then we emphasize that it is the brother (and not the sister or anyone else) who studies at school. If we highlight the second word, then we emphasize what exactly the brother does. Highlighting the last word with logical stress, we emphasize that the brother studies at school (and not at a technical school, university, etc.).

Types of intonation

Allocate various types of intonation: narrative, interrogative, exclamatory, enumerative, excretory, explanatory, etc.

For narrative intonation is characterized by a calm, even pronunciation of the entire statement: The grass is green. The sun is shining. Swallow with spring in the canopy fly to us.

Interrogative intonation expressed by raising the tone at the beginning and lowering it towards the end of the utterance: When will you be back? Has the child done his homework?

exclamatory tone, on the contrary, it is expressed by raising the tone towards the end of the sentence: What a night! How she sings!

Sources:

1. Vvedenskaya L.A., Kolesnikov N.P. A culture of speech. Series "Textbooks, teaching aids". Rostov n / a: Phoenix, 2001.- 448 p.

Thus, the phrase of the robot, after placing pauses, can be pronounced in different ways:

1. Raise those feathers too.
2. Raise those feathers, those too.
3. Those feathers under them, those too.
4. Now I'm under them, those too.
5. Now I, pick up too.
6. Now I, pick up those too.
7. Now I'm under them those too.

The culture of speech is an integral part of personal characteristics, because the activities of people are directly related to speech communication, and, in addition, it is an important condition for their professional growth. Literally for some 5–10 years, the speech and general culture of the population has significantly decreased, moral and ethical norms have been ignored, which, accordingly, has led to the degradation of society. The modern language picture has forced linguists to pay attention to the level of speech culture of modern youth. Many are wondering whether it is necessary to take prompt measures to preserve and develop the Russian literary language, or are negative phenomena in the modern Russian language transient? In my opinion, one should not wait until everything corrects itself, inaction will only exacerbate negative processes and trends; it is urgent to take measures to restore, update and improve the speech culture of all Russian speakers (and this is millions of people).

In 2013 V.V. Putin noted with regret that the level of Russian language proficiency among young people is declining, as is interest in literature. "Our country - once the most reading in the world - can no longer claim this honorary title," Putin acknowledged. According to statistics, Russian citizens devote an average of only 9 minutes a day to reading books.”
According to the president, as a result of this, “classical literary speech or the richest folk coloring is perceived today as an exception.” “And disregard for the rules of the native language is becoming the norm. Including in the media and in the film industry.

At present, only a small part of school graduates has a high level of communicative culture of speech. The problems of reducing the culture of speech in our country, the trend towards the spread of jargon and vernacular is relevant, it is given special attention, since the culture of speech acquires social significance. The problem of the formation of a communicative culture of speech has a different expression in different age groups and applies mainly to adolescent schoolchildren. Consequently, the exclusive task of all educational institutions and teachers working in them is to create favorable conditions for the formation and improvement of the culture of speech communication, which is based on the literary language.

The literary language is a standardized language. Language norms are not invented by philologists, they reflect a certain stage in the development of the literary language of the whole people. The norms of the language cannot be introduced or canceled by decree, they cannot be reformed by administrative means.

The main sources of the language norm include: the works of classical writers; works by contemporary writers who continue the classical traditions; media publications; common modern usage; linguistic research data. Norms help the literary language to maintain its integrity and general intelligibility. They protect the literary language from the flow of dialect speech, social and professional jargons, vernacular, borrowings. This allows the literary language to perform one of the most important functions - cultural .

There is a constant interaction between the literary language and non-literary varieties of the Russian language.

An inattentive, careless attitude to the norms of pronunciation, stress, use of words, the use of jargon, vulgarism, unjustified borrowings in speech pollute speech, destroy the literary language, and this ultimately leads, as linguists say, to the death of the nation.

Today, the Russian language is undergoing tremendous changes. One of the main problems is the problem of borrowing foreign words and speech patterns, which we are increasingly “implanting” into our speech: mentality instead of character, present instead of a gift, and such examples can be given for a very long time. Some borrowed words have changed their meaning due to the influence of socio-political reasons, for example, the word speculator was originally used in the meaning of a small entrepreneur.

Of particular interest is the analysis of speech innovations of young people. Instead, hackers say apple, but this does not mean fruit at all, but the Apple company or the computer of this company. Lamer - a person who does not know how to handle a computer or does not know the rules of behavior on the network. A rat is a pirate (a hacker professionally engaged in removing programs from closed servers and infiltrating closed computer networks using espionage, blocking the network, or causing material damage to participants). All this creates problems of coordinating languages, therefore, in the near future, it may be necessary to create special dictionaries of fidodialects in order to somehow understand the languages ​​of various subcultures.

At present, under the influence of the "vulgarization" of public life, the gap between "classical" speech and slang is widening every day. Jargon crowds cultural speech and, thanks to mass culture, leaves its mark on the language of the entire nation. With the acceleration of the pace of life and its change, the vocabulary grows and the vocabulary of slang expands accordingly. With the rapid growth of mass communications, thousands of new words have been added to the lexicon to reflect political and social change. They are reflected in the media and, of course, find their expression in the jargon, which is a challenge to "cultural" life. So, what is youth jargon?

Youth jargon is a special form of language. From a certain age, many of us plunge into its element, but over time, as it were, “emerge” on the surface of the literary colloquial language. Youth jargon is based on playing with the word, on a special attitude to life that rejects everything that is correct, stable, boring, routine. Often people of older generations retain a predilection for jargon.

According to recent studies, in the youth environment, the degree of jargon (defined in such a seemingly harmless sphere of general evaluative words - synonyms: “good” - “bad”) exceeds 50% for boys and 33% for girls (i.e. fly away, otpad, super, dumb and similar words half replace literary expressions). Pretty impressive numbers! There is nothing to be surprised, however. The so-called general jargon - an understated style of speech that blurs both the norms of the language and the norms of speech etiquette - becomes familiar not only in everyday communication, but also sounds on television and radio. The youth, being the predominant carrier of jargon, makes it an element of pop culture, prestigious and necessary for self-expression. There are enough examples of this in the lyrics (“Stremny Ship” - the name of the song of the Crematorium group, “I don’t give a damn” - the Spleen group, “They stick out under the rave” - Makarevich, “We were super with you” - the Leprikonsy group ”), in the programs of Our Radio. Today we will not complain about the "corruption" of the language of young people, but will try to understand the phenomenon that we are observing. Let's start with the fact that the ideal, uncorrupted Russian language has never existed. Even in the time of Pushkin. Guardians of the purity of the language have always had something to fight for. And they fought - with Pushkin. Remember: ".. tailcoat, vest - all these words are not in Russian .." I can translate). They eradicated borrowings, introduced their own, self-made - ridiculous wet shoes. In different periods of the development of the language and society, the object of the struggle was also different. In the 1920s and 1930s, the waves of street elements – homeless children, thieves, as well as the rally language of revolutionary sailors and soldiers (they called “brother”) overwhelmed colloquial speech. In our time, the object of the struggle is jargon.

In the vocabulary of youth jargon, two extreme features coexist. On the one hand, concreteness, clarity of definition: the tail is a failed exam or test, the brake is a slow, thinking person. On the other hand, the meaning is blurred - sometimes slang words and expressions cannot be accurately translated into literary language: cool - a hard-to-define positive characteristic of a person or object, borrowed from the language of traveling merchants of the 19th century, cool - a positive characteristic of a person.

In the last decade, youth jargon has been actively supplemented by computer vocabulary: metaphorically rethought Russian words (teapot, hang, hack) and numerous English-language borrowings (user, hack). Another feature of youth jargon is the limited subject matter. There are about a dozen semantic classes of names, within which there are many synonyms. These are the names of body parts (lanterns, knife switch, claws), clothes and shoes (shoes, swinger, outfit), money (bucks, grandmas, piece, lemon), some actions and states (pass out, drag, pin) and others.
Capacious, sonorous, beautiful words of the native language are replaced by a verbal "husk", behind which there is no content.
For example, a whole series of synonymous words: wonderful, delightful, magnificent, wonderful, wonderful, amazing, charming - is replaced by meaningless cool or cool! This jargon is introduced not only into the speech of young people, but also continues to live in the speech of adults, it becomes habitual, not to mention a more terrible phenomenon - a widespread, almost legalized obscenity ...

What attracts a teenager to slang? (this is a language game, a departure from the language norm; "second life").

The teenager's need for a form of existence hidden from the official speech culture is explained by the psychology of age. Get away from social control in the age group, make sure that not confused with others to stand apart not only territorially, but also in sign systems, giving a special meaning to their association - this is what becomes deeply attractive to adolescents. There is a special type of communication that is unacceptable in ordinary life. Special forms of slang speech are also developed here, which not only erase interindividual distances between those who communicate, but also briefly express the philosophy of life. Widespread are such pearls of youth philosophy as: "Everything is high!", " What the hell?"

I am glad that lately it has become fashionable to speak correctly. Teenagers strive for this, clarify how to say or write correctly. Why, if young people know how to speak correctly, do they speak incorrectly? Why does he prefer to use condemned forms of speech knowing the prestigious, normative ones?

Yes, simply because it has a different system of values, a different prestige, a different norm - an antinorm. And in this anti-norm, the main principle is the element of shock, shake-up, in order to shake the people, and the element of ridicule, so that it is not boring, funny, cool. This is both a challenge to a prosperous, prosperous society, and a rejection of its norms, its

examples, his propriety. The element that feeds youth jargon, everything is new, not

traditional or rejected - music fan speech and speech

drug addicts, computer jargon and urban vernacular, English

language and thieves' slang.

It is known that a teenager, being by nature a social being, cannot live out of contact with other people: he must consult, share thoughts, feelings, and communication is the beginning of communication. The main way to meet the child's need for communication is speech. To do this, it is necessary to motivate the desire of the child to be educated, as well as the willingness to consciously make efforts for this.

Under these conditions, the task of forming the speech culture of adolescents in a secondary school becomes especially relevant.

In this regard, the content, forms and methods of forming the speech culture of adolescents need to be updated, and there is a need for targeted work to manage and improve this process in a general education school.

Before proceeding with the choice of forms and methods, it is necessary to study the speech of adolescents, and not only. For research I used the following methods:
· Method of analysis and synthesis of students' speech; Conversation;
Observation; Questioning; Experiment.

Let's turn our attention to the method of "Defining the active vocabulary" of students. The child is offered any picture that depicts people and various objects (for example, the one shown below). He is asked to tell in as much detail as possible about what is depicted and what is happening in this picture within 5 minutes.

The child's speech is recorded in a special protocol, the form of which is given in the table, and then analyzed. This protocol notes the frequency of the child's use of various parts of speech, complex sentences with conjunctions and introductory constructions, which indicates the level of development of his speech.

After analyzing the results of the questionnaire, we came to the following. The level of the general formation of the culture of speech corresponds to the age and individual characteristics of the students. As for the use of synonyms, introductory constructions in students' speech, 54% of 100% answered the answer "Not always". their level of development.

What kind of speech can be called correct? Correct speech is one in which the norms of the modern literary language are observed. In addition, it is also necessary to be able to find not only the exact means for expressing one's thoughts, but also the most intelligible (i.e., the most expressive) and most appropriate (i.e., the most suitable for a given case and, therefore, stylistically justified).

They say the eyes are the window to the soul. But then speech is a mirror of personality.

When forming students' correct speech, I rely on the modern doctrine of the communicative qualities of good speech, developed by Boris Nikolaevich Golovin. He identifies the main qualities of speech and correlates them with other concepts:

Speech - thinking (logicality, clarity, simplicity, brevity) the rule of high eloquence, the requirement of understandability is highlighted. “Whoever wants to speak properly so that they do not understand him can calmly remain silent.” MM. Spiransky.

Speech is the objective world (accuracy ) is determined by the knowledge of the subject, the logic of thinking, the ability to choose the right words. Violation of the logical sequence, lack of logic in the presentations lead to inaccurate speech.

Speech is hers setting, content, purpose (relevance)

Speech - aesthetics (figurativeness, expressiveness, euphony) enhances the effectiveness of the speech, arouses interest in the listener, maintains attention to the subject of conversation, has an impact not only on the mind, but also on feelings, imagination

Work on coherent speech - written and oral - requires special attention. In the program of traditional secondary school education, in our opinion, the system of classes for the development of students' speech is not fully represented. In addition, at present, the school is experiencing an urgent need for special methodological teaching aids that would correspond to modern tasks of speech development, contribute to the formation of speech skills, the development of speech culture and language sense.
A distinctive feature of the modern approach is the focus on interconnected comprehensive training for all types of speech activity: speech perception, speaking, reading and writing. Although the teaching methodology rich material has been accumulated on the formation and development of speech, despite all this, individual phenomena of language are often studied in isolation from the development of adolescent speech.

Based on this, one very important methodological task follows: ensuring a limited unity of the two directions - familiarization with the language and development of speech.

Therefore, lexical work at school is organized in the following areas:

clarification, activation and expansion of students' vocabulary;

elimination of non-literary words and expressions from the speech of students.

Consequently, the main attention of the teacher should be directed to the fact that, while teaching children the language, giving them meaningful words to memorize and teaching them to use them when expressing thoughts, the teacher would simultaneously teach them to think and reason. In this case, special attention should be paid to the content of the statement.

For example:

Read parts of the text

Arrange the parts in the correct order;

Insert the missing sentence

find errors;

Determine the main idea in the text; title the text.

guess the ending of the text;

Come up with your own continuation, replace foreign words with a synonym.

Such an approach in the learning process increases the depth of knowledge, the quality of assimilation of new material, in parallel with this, the problem of intensive speech-cogitative development of schoolchildren is solved.

Thus, the communicative culture of speech is a multifaceted process of organizing, establishing and developing communication, mutual understanding and interaction between teachers and students, generated by the goals and content of their joint activities.

Under the influence of whom and what is the speech of our teenagers formed? This includes the media, theater and film actors, classical literature. And most importantly, remember your teachers - their voices, speech features, manner of communicating, answering questions. You wanted to imitate the speeches of some, you admired literacy, its richness, expressiveness, imagery. In the speech of others, speech errors, scarcity and monotony were noted. The monotony and simplicity of the speech of such a teacher.
An effective way to enrich speech is imitation. That is why you, dear colleagues, in an effort to convey something to children, must act as carriers of cultural speech, possess the ability to tell intelligibly, interestingly, expressively, and have clear diction.
And the teacher's speech is a role model, it is an example for his students. V.A. Sukhomlinsky called the teacher's speech culture a mirror of his spiritual culture.

Each teacher should pay due attention to his speech, because the level of language training that the university provides today is insufficient, it should be considered as a starting one. It must constantly increase in the process independent professional activity of a teacher through self-education.

There are the following ways to improve speech:

1. Self-control and development of a culture of speech (work with a dictionary, study of one's own speech).

2. Self-control and development of expressive speech skills (preparing for a speech, answer the questions: What intonation does my speech require?

3. Self-control and development of communication skills. Here it is important to study oneself in communication, find out one's position in it, attitude towards a communication partner, scientifically manage one's mood in communication, study the manner, tone, character of speech.
In adolescence the development of speech is, on the one hand, due to the expansion of the richness of the dictionary, on the other hand, due to the assimilation of many meanings that the dictionary of the native language is able to encode. A teenager intuitively approaches the discovery that language, being a sign system, allows, firstly, to reflect the surrounding reality and, secondly, to fix a certain view of the world. It is in adolescence that a person begins to understand that the development of speech determines cognitive development. We interviewed high school students. Our children are reading. The results of the survey revealed that the most read works among young people were "War and Peace" by L. Tolstoy, "Master and Margarita" by M. Bulgakov, "Crime and Punishment" by F. Dostoevsky, "Virgin Soil Upturned" by M. Sholokhov. W. Eco "A reading person is equal to two."

By the way a person speaks, what words and expressions he uses in his speech, you can talk about him as a person, form an opinion about him, determine what level of his intellect, education, circle of his communication and interests. And therefore, if a person is interested in improving his rating, image, professional growth, in respect for others, he needs to improve his speech culture, improve his literary language skills, strive in general to improve himself as a person.

Apparently, in a certain period of growth, young people have to get over this language disease - thoughtlessness and denial of norms, primitivism and linguistic atavism - a disease in order to overcome its primitive element and realize the dignity and strength of the Russian language.

Modern youth are people who in the near future will govern the state, solve important issues in all spheres of life. And about what it will be, this bright future, you need to worry now.

I would like our government, and indeed all relevant structures, to pay more attention to the problem we are talking about today. For example, in the city of Kemerovo, a socio-cultural action "Pure Word - Pure Word" was held with the support of the Department of Education, Sports and Youth Policy of the city administration. All educational institutions of the city took part, not only schools.

But in 2012, the All-Kavzsky forum of posters - projects "Learn to speak" was held under the name "Mashuk 2012". Posters were placed in places of numerous stay of a mass of people. Why not hold such an action in our cleanest city in order to popularize the culture of speech, the literary language.

I would like to finish my speech with one of the last poems of the Excellent Worker of Public Education of the Russian Federation, Honored. RI teachers , Ingush poetess Maryam Akhmedovna Lyanova "The Last Link"

The embodiment of virtues and the last link ...
I can't believe it's doomed!
Hardened, dumbfounded? I don't want to believe it

Man must be an adornment of the planet!

8.1. Intonation is a hallmark of oral speech

In oral sounding speech, a variety of means are used that enrich it, make it expressive, emotional, and enhance its impact on listeners.

What are these funds? What are they?

The famous Russian linguist A.B. Shapiro characterizes them thus:

In oral speech, we make many such pauses, rises and falls in tone, slowing down and speeding up the tempo of speech, changes in the timbre of the voice, etc., which are never noted and cannot be noted in a written text by the mere fact that this day would be required a huge number of various signs - probably no less, and possibly more than they are required for musical texts (cf .: sharps, flats, syncopations, etc.).

Intonation conveys the semantic and emotional differences of statements, reflects the state and mood of the speakers, their attitude to the subject of the conversation or to each other.

Conveying the intonation of the characters' speech, the writer reveals their inner state, their experiences: Stepan Arkadyevich's guilt (in a pitiful voice, with a trembling voice); resentment, despair of his wife (with pain and anger). The mental tension of the deceived

By the intonation of the heroes of the work, the reader understands what state they are in, what feelings gripped them.

Intonation distinguishes oral speech from written speech, makes it richer, more expressive, gives it a unique, individual character.

However, this does not exhaust the purpose of intonation. It also performs a syntactic function: it indicates the end of the phrase, its completeness or incompleteness, what type of sentence the sentence belongs to, whether it contains a question, an exclamation or a narrative. In written speech, the reader learns about the syntactic role of intonation by punctuation marks.

Intonation is a complex phenomenon. It includes four acoustic components: tone of voice, intensity or strength of sound, tempo of speech, and timbre of voice. What are the components of intonation?

But first, let's remember that sound as an acoustic unit also contains signs of height, strength, timbre and duration. Pitch is the amount of vibration of the vocal cords. It is measured in hertz per second: the more hertz per second, the higher the sound. The strength of the sound, its intensity depends on the amplitude of the vibrations of the vocal cords and is measured in decibels. Timbre is a combination of fundamental tone and overtones. Overtones (different-frequency vibrations of air particles) are formed in the oral cavity. Their difference depends on the shape and volume of the mouth, which change during the articulation of sounds. The duration of a sound is determined by the amount of time it takes to pronounce the sound.

It should be emphasized that sounds and intonation consist of the same acoustic components. This is explained by the fact that the formation of sounds and intonation is a single articulatory-acoustic process.

Before characterizing the components of intonation, let us turn to the history of its study.

8.2. From the history of intonation research

Intonation is inherent in speech from the beginning of its inception.

But the question of when it was noticed, when it became the object of scientific study and why, is difficult to answer without knowledge of the history of science.

Intonation first of all interested the theoreticians of oratory in ancient times. The speaker must be able to speak clearly, clearly, so that everyone understands what he is talking about. In addition, the speaker must influence not only the mind, but also the feelings of the listeners, be able to win their sympathy, win over to his side, cause the reaction he needs, He needs to know how to do this, what means of sounding speech should be used for this. That is why the orators of Ancient Greece and Ancient Rome, laying the foundations of oratory, wrote about intonation.

In their works that have come down to us, a speech melody is described, its difference from a musical one is determined, rhythm, tempo, pauses are characterized, and the importance of dividing the flow of speech into semantic parts is said. One can really say that intonation has been of interest since the time of the legendary Romulus, who founded Rome.

The problem of intonation attracted the attention of public speech theorists in the Middle Ages as well. But for us, of greater interest are the works that appeared in the 18th century. It was at this time that the main theoretical provisions of oratory were formulated, which remain relevant today. One of these theorists was M.V. Lomonosov, Part Four of his "Concise Guide to Rhetoric" is called "On Pronunciation". Here he writes that pronunciation "has great power", therefore "whoever wants to be a true rhetorician, in a decent pronunciation of a word, must often practice and observe the following rules."

In the XVII-XIX centuries. with the development of theatrical art, intonation is beginning to be considered as an important element of stage speech. For an actor, as well as for a speaker, sounding speech is the main means of conveying thoughts, feelings, a means of influencing the audience, so the actor must be able to use all the possibilities of the language, to know its laws.

Specialists in expressive reading, acting, comparing stage speech with ordinary speech, determined the features of its intonation. On the example of the analysis of a work of art, they showed what function the intonation performs, what are its components, with what intonation one or another work should be read.

Particular attention was paid to the connection between punctuation and the nature of the pronunciation of the text, it was emphasized that punctuation marks determine the place of pauses and their duration, indicate the boundaries of speech segments, and require an increase or decrease in tone. Already at that time, the dependence of the intensity of pronunciation on logical stress, on the order of words in a sentence, on what part of speech the word belongs to, what member of the sentence it is and what place it occupies was correctly determined.

Theoretical statements about the nature of Russian intonation and advice on its practical use in stage speech were summarized and further developed by the outstanding director, actor, teacher, theorist of theatrical art Konstantin Sergeevich Stanislavsky (1863-1938). In his essays “An Actor’s Work on Himself”, “Actor’s Work on a Role”, “My Life in Art”, he repeatedly addresses the issue of sounding speech, expresses a number of interesting opinions and always puts them in a lively, colorful, fascinating form. Reading his writings is a pleasure. Much differently you begin to perceive and understand.

Conducting experiments with his voice, following its changes as a result of special exercises, carefully listening to the intonation of drama and opera actors, talking with the stage masters about their work on the voice, Stanislavsky came to the conclusion: the nature of the intonation, the color of the voice depend on the sound as vowels, as well as consonants. He liked to repeat the phrase: "Vowels - the river, consonants - the banks." Singing with loose consonants, according to the figurative expression of Stanislavsky, is likened to a river without banks, which has turned into a flood with a swamp, with swamps in which words get stuck and drown.

Developing the theory of intonation, he seeks to comprehend the role and function of consonants in sounding speech, their distinctive physiological and acoustic features.

According to Stanislavsky's deep conviction, in order to master intonation perfectly, it is necessary to know at what position of the mouth, lips, tongue certain sounds are formed, that is, to know the structure of the speech apparatus, its resonators. And not only to know its device, but also to clearly imagine what shade the sound acquires depending on which cavity it resonates, where it is directed. For example, vocal specialists believe that a sound that is “put on the teeth” or sent “to the bone”, that is, to the skull, acquires metal and strength; sounds that enter the soft parts of the palate or the glottis resonate like cotton wool.

What about lips? How important is a well-developed articulation for the formation of sounds? Here is what, according to Stanislavsky, it happens to a trained artist:

I followed his lips closely. They reminded me of the carefully polished keys of a wind musical instrument. When they are opened or closed, air does not seep into the cracks. Thanks to this mathematical precision, the sound receives exceptional clarity and clarity. In such a perfect speech apparatus<...>lip articulation is performed with incredible ease, speed and precision.

Then Stanislavsky compares what he saw with the articulation of his lips:

I don't have that. Like the valves of a cheap tool from a bad factory, my lips don't close tight enough. They let air through, they bounce, they have a bad fit. Due to this, consonants do not receive the necessary clarity and purity.

The discussion about the role of lip articulation ends with the words:

When you understand this in the same way that I now understand it, you yourself will consciously want to work on and develop the articulation of the labial apparatus, the tongue, and all those parts that clearly carve and shape consonants.

Was at K.S. Stanislavsky and his view on the origin of sounds, syllables, words. He believed that they were not invented by man, but appeared naturally, "prompted by our instinct, motives, nature itself, time and place, life itself."

From this follows the conclusion:

All the sounds that make up the word have their own soul, their own nature, their own content, which the speaker must feel. If the word is not connected with life and is pronounced formally, mechanically sluggish, soulless, empty, then it is like a corpse in which the pulse does not beat. The living word is saturated from within. It has its definite face and must remain as nature has created it.

And this is the soul of the words that make up phrases, the text is formed, its inner content, meaning, the speaker must be able to reveal, convey to others, using all the richness of intonation, its melody.

However, not every person has a strong, flexible voice with a large range. It can be hoarse, nasal, very weak, faded, inexpressive. Stanislavsky warns that some vocal flaws are irreparable, such is their natural property or the result of voice disease. But most often, voice flaws can be eliminated with the help of the correct setting of the sound, and in case of illness - with the help of treatment. In any case, you must use all means to always be “in your voice”, i.e. “to feel that you can control your sound, that it obeys you, that it loudly and strongly conveys all the smallest details, modulations, shades of creativity.”

“How can this be achieved?” - you ask. After all, you need to know this too. Especially if you dream of serving the arts, being an actor or becoming a scientist; Yes, no matter who you become - a politician, a businessman, a doctor, a teacher, a lawyer, a priest - you should learn to own and control your voice.

There is a special literature on teaching the culture and technique of speech, available to anyone who has realized the importance and necessity of such classes. Let us only note that Stanislavsky, having started classes to correct his speech, made a vow: “I will always, constantly monitor myself and my voice! I will turn life into a continuous lesson! In this way, I will unlearn how to speak incorrectly.” Shouldn't you also listen to these words?

At the end of the XIX century. linguists began to study intonation. This does not mean that intonation was not discussed earlier in their writings. They wrote about it, for example, in textbooks. However, they gave only a general characteristic of intonation without a corresponding analysis. For example, let us turn to the “Russian Grammar” by M.V. Lomonosov, published in 1755.

How much importance its author attached to intonation is shown by what he began with a chapter called "On the Voice." In it, Lomonosov primarily writes about the great gift that nature has endowed man with - hearing and voice. Lomonosov is surprised at how many diverse “ideas” are perceived by sight, “but one should hardly be less surprised at their innumerable multitude, acceptable through hearing.” This is how Mikhail Vasilievich formulates the idea of ​​the endless possibilities of intonation, its richness and diversity.

The following is a discussion of the components of intonation. Although the author’s terminology differs from the modern one, it is clear from the description that he distinguishes between tone (“raising and lowering” of the voice), tempo (“extension by longitude and brevity”), sound intensity (“tension by loudness and quietness”).

We notice such changes in hoarse, ringing, dull and in other different voices. Since their cancellation is numerous, we can see from this that of the great multitude of familiar people we recognize each by voice, without seeing in the face.

The foundations of the scientific approach to the study of intonation in Russian linguistics were laid by Vasily Alekseevich Bogoroditsky (1857-1941), who created the first experimental phonetic laboratory in Russia, Alexander Matveevich Peshkovsky (1878-1933), Lev Vladimirovich Shcherba (1880-1944), who headed the Leningrad phonological laboratory. school. Initially, scientists were interested in intonation as an acoustic means of formulating sentences, that is, its syntactic aspect. Linguists have described in sufficient detail the intonation of interrogative, exclamatory, motivating, declarative sentences, investigated and showed how intonation shapes the statement, helps to distinguish its parts, taking into account their significance.

Since the middle of the XX century. began to refine the structure of intonation, highlight its components. The opinions of researchers differed on this issue. In one of the works on intonation, a frequency list of its elements is given, identified by the authors of 85 studies published in the 19th-20th centuries. Most authors refer to intonation as melody (83), tempo (71), strength or intensity of sound (55). Then come pause (47), timbre (45), stress (27), rhythm (17), range (3). As you can see, some of the researchers include pa-Uza, stress in the composition of intonation, distinguish rhythm, voice range as its component.

Scientists have long established that intonation performs three main functions: semantic, syntactic and stylistic. In the last two

decades, interest in the study of the stylistic function of intonation, its role in the formation of the text, has increased.

Since any text is pronounced in a certain style (official business, scientific, journalistic, everyday colloquial), belongs to some genre, linguists find out how intonation changes according to style and genre. Attracts researchers and the role of intonation in works of art, in which it serves as a visual means, helps to reveal the character of the characters,

In works of a stylistic nature, special attention is paid to the intellectual value of intonation, since it allows the speaker to highlight in the statement what is most important at the moment of speech.

In addition to the intellectual, intonation also has a voluntative (Latin voluntas - “will”) meaning when it expresses volitional actions: an order, a prohibition, a request, a warning, a warning, a threat, a command, a prayer, a reproach, a permission, a sermon, a protest, an exhortation, consent. , goading, recommendation, persuasion. In this regard, three communicative types of influence on the will and actions of listeners are distinguished: 1) binding or inducement (order, demand, request); 2) command to stop (prohibition, threat, reproach); 3) persuasion (suggestion, advice, instruction). Therefore, intonation is also considered from the point of view of its impact on the listener,

The study of intonation is currently being carried out at a high scientific level using the latest advances in technology, including computers.

The results of the study of intonation are used in teaching native and foreign languages, diagnosing certain diseases, and also when it is necessary to establish who owns the voice recorded on a magnetic tape or on any of the recording devices - in other words, personality identification is established by intonation, as well as emotional state of a person during speech recording.

8.3. Acoustic components of intonation

Now consider the acoustic components of intonation. Let's start with tone.

The term tone goes back to the Greek word tonos (literally, "taut rope, tension, tension"). This term is used in various sciences. In physics, it means "sound generated by the periodic oscillation of air"; in music, “a musical sound of a certain pitch”; in painting - “a shade of color or chiaroscuro”; in medicine - "the sound of a working heart, its valves."

This word is used in stable combinations: set the tone - “set an example, influence one’s own act, behavior”, get into tone - “say or do something appropriate or pleasant to someone”.

When talking about the tone of speech sounds, they mean the height of vowels, sonorous and voiced noisy consonants. Tone is formed as air passes through the pharynx, vocal cords, mouth and nose. As a result of the vibration of the vocal cords, the main tone of the sound arises - the most important component of speech intonation.

Scientists have calculated that men speak at a frequency of 85-200 Hz, and women - 160-340 Hz. This is the average tone of speech.

Do you know how many vibrations per second the vocal chords of the singer with the highest female voice (coloratura soprano) make when she sings on the highest note (fa third octave)? The frequency of oscillation is amazing. 1397! Such a frequency of the vocal cords is not only a gift of nature, but also the result of the singer's hard work. But examples of V.P. Morozov:

In nature, however, there are “singers” whose voice frequency range far exceeds the capabilities of the human vocal apparatus. Nature has endowed some representatives of the animal world with such phenomenal voices. Acquaintance with them turned out to be not only interesting for a person, but in many respects even useful.

The voice range of a small nocturnal animal - an ordinary bat - is about seven octaves! The lowest notes of a bat are like a whistle, and the highest ones lie far beyond our hearing, in the ultrasonic frequency range, reaching up to 140,000 Hz.

Even more striking is the range of the voice of the sea "singer" - the dolphin. His voice extends from the lowest bass (grunting) sounds, covers all the ranges of baritone, tenor, soprano and even a bat, reaching up to 160,000-180,000 Hz, i.e., up to the tenth octave fa. In total, the voice of a dolphin covers more than 12 octaves - a record figure that is not surpassed by any living creature!

Another component of intonation is the intensity of the sound. It depends on the tension and amplitude of the vibration of the vocal cords. The larger the vibration amplitude, the more intense the sound.

Listen to the level of intensity. It comes in low, medium and high. The level of sound strength may not change (even, calm voice), but most often the direction and nature of the intensity change: increase or decrease, and this can happen abruptly or smoothly.

The interaction of tone and intensity enhances the loudness of speech.

The life situation, the mental state of a person, his upbringing, respectful attitude towards others determine the tone in which he will speak. So, at a rally, parade, at the station, when the speakers are one in car 5 and the other on the platform; if the interlocutors are separated by a distance or they are surrounded by continuous noise, but something more important needs to be said, in such situations it is permissible to speak loudly. When a person is in a family or circle of friends, at a doctor’s office, in the boss’s office, on a tram, in a store or in another public place, then loud speech will indicate bad manners or excessive nervousness, an excited state, or, finally, a desire the speaker to get attention.

Task 182. Remember more possible situations that affect the degree of tonality and intensity of speech.

The normal speech rate of Russians is about 120 words per minute. One page of typewritten text printed at 1.5 intervals should be read in two to two and a half minutes.

The pace of speech may change. It depends on the content of the statement, the emotional mood of the speaker, the life situation.

What, for example, determines the rate of pronunciation of sentences: Hurry, let's run to the forest!; Goes foot by foot; Crawls like a turtle; Is the lake wide and deep like the ocean? The rate of speech in this case is determined by the content of the sentences. The first calls for a quick reaction, for quick action, so the pronunciation speeds up. The second and third sentences characterize the delayed action. To emphasize this, the speaker stretches the sounds, the pace of speech slows down. In the last sentence, the emphasis falls on the words wide and deep. The slowing down of speech during their pronunciation allows, as it were, to depict an object, intonation to emphasize its size.

The pace of speech will be different if the phrase Rain only annoyed, but rain with snow was simply unbearable to pronounce either as a statement of fact or with deep feeling. When stating a fact, the sentence is pronounced in an even voice. If the speaker seeks to convey his emotional attitude to what is being expressed, then he will pronounce the second part in a raised tone and at a slower pace.

In general, feelings of delight, joy, anger speed up the pace of speech, and depression, inertia, meditation slow it down.

A very slow pace is also characteristic of difficult speech, the speech of a seriously ill, very old person. The court verdict is read at a slow pace, the oath is pronounced.

Now imagine a situation that requires a quick response (a fire has started or a person is drowning). It is clear that the call for help will not only be loud, but also at a fast pace.

Let's pay attention to one more phenomenon. But first, let's imagine three speech situations. A student enters the dean's office. - Hello, Alexander Alexandrovich! The neighbor approached the neighbor in the yard. - Hello, Alsan Alsanych! Two friends met - Hello, San Sanych!

How are greetings different? Pronunciation style. This is an additional stroke that characterizes the intonation of sounding speech. When we are in an official setting, we speak to a large audience, when we want everyone to hear and understand us, then we slow down the pace of speech, we try to pronounce every sound, every word. This style of pronunciation is called complete.

In an informal setting, in a family circle, with friends, an incomplete, colloquial style is most often used, which has many options, sometimes resembling a tongue twister.

Surprisingly, the style of speech can indicate a dismissive attitude of the speaker towards the one he is talking to.

Task 183. At what pace should expressions be pronounced, and what does it depend on in this case?

This will take two days. It will take over a thousand years.

In E. Etkind's book “A Conversation about Poems” (Moscow, 1970), two chapters have titles: “The slow word "slowly"" and "The quick word "quickly"".

Task 185, What features of sounding speech do proverbs, sayings, set expressions indicate? Which of them characterize the rate of speech?

Eka suffered: neither horse nor winged can catch up. You can't keep up with your tongue barefoot. You can't take it with your throat. The hut is not cut with a throat. Headless. Mutters like a wood grouse. Squeaks like a chicken. Screams like a bittern. He talks like he's throwing peas at the wall. He gives the word to the word a crutch. Word by word crawls on cockroach legs. He speaks through his teeth. He says that he is sipping into a sieve. Word to word puts, as if the cells are fenced. Word after word goes on. Word for word clings. She says she will give birth. He will utter a word, as if chewing gum, He says, as he drags a collar on a horse with tongs. Scribbling like a machine gun. A thousand words a minute.

The last component of intonation is timbre. This is an additional articulatory-acoustic coloring of the voice, its coloring. In the oral cavity, as a result of greater or lesser tension of the speech organs and changes in the volume of the resonator, overtones are formed, that is, additional tones that give the main tone a special shade, a special color. Therefore, the timbre is also called the “color” of the voice.

The timbre of the voice can change, depending on the emotional state of the person. Therefore, timbre is also called the specific coloring of speech, which gives it certain expressive-emotional properties. This meaning sometimes acquires the term tone. In this case, timbre and tone become doublet terms.

The nature of the timbre is so diverse, and its perception is subjective, that scientists in describing the features of the timbre use a variety of definitions that emphasize visual perception (light, dark, dull, brilliant); auditory (deaf, vibrating, trembling, muffled, sonorous, noisy, creaking, sonorous, whispering); tactile (soft, sharp, hard, heavy, cold, hot, light, hard, dry, smooth); associative (velvet, copper, gold, silver, metal); emotional (gloomy, gloomy, annoyed, cheerful, joyful, jubilant, frisky, enthusiastic, admiring, mocking, dismissive, indignant, angry, tender, cordial, complacent, passionate).

The fact that some of them denote its acoustic properties (light - dark, hot - cold, hard - soft), others indicate the position of the organs of articulation (narrow - wide) also speaks of some uncertainty and the relative nature of the definitions of timbre; relate to accentuation (heavy - light); emphasize the pace (calm - lively). And not in all cases it is clear what feature of the timbre is meant by the author, giving it a definition. For example, in one of the manuals on the art of recitation, it is recommended that Maykov’s poem “Spring” be read in gold tone, Tsyganov’s “Across the field, the clean field” - in silver, Lermontov’s “My soul is gloomy” - in copper, and his “Cliff” - in velvet tone. But there are no clear explanations of how one tone differs from another.

Recently, scientists have become interested in the language of emotions, which is especially distinguished by a variety of intonations. He, according to researchers, has independence, has a single acoustic alphabet for all people, and is even independent of the word.

Musicologists say that any emotion (anger, joy, pain, tenderness, contempt, etc.) can be expressed by singing a melody without words, and even with only one vowel on one note.

Not only musicologists talk about such possibilities of intonation. K.S. Stanislavsky believed that the feelings that arise in a person give rise to the need to throw them out through the sound. So, for example, an open, clear, wide ba-a ... conveys surprise, joy, a cheerful greeting, from which the heart beats stronger and more cheerfully.

Listen for yourself. Ba! You feel how inside of me, in the recesses of my soul, a guttural b was born, how my lips barely restrained the pressure of the sound along with the feeling - from the inside. How, at last, the obstacle broke through and from the opened lips, like the embrace of arms or the doors of a hospitable house, flew out to meet you, like a host meeting a dear guest, a wide, hospitable sound, saturated with a friendly feeling. B-b-a-a-a! Do you not feel in this exclamation a piece of my own soul, which flies to your heart with a joyful sound?

And what do scientists-specialists write about this? What is their opinion? They confirm that the nature of the sound depends on the physical condition of the person experiencing this or that emotion, and the state of the organs of speech.

Emotional speech has a greater impact on the listener than dispassionate speech. Teacher and writer Anton Semenovich Makarenko (1888-1939), sharing his experience of raising teenagers, said:

I became a real master only when I learned to say “come here” with 15-20 shades, when I learned to give 20 nuances in setting the face, figure, voice, And then I was not afraid that someone would not come up to me or feel what is needed.

Task 186. Tell me how the intonation of speech depends on the state of the speaker (extreme excitement, delight, apathy, fear, indifference, joy, indifference,

peace, anxiety, anger)? Does the nature of intonation affect the addressee? How? Under what situations?

Task 187. Watch the speech of people when they are upset about something, they are indignant at something, they rejoice at something, for some reason they were delighted. Determine how the emotional state of a person is reflected in his speech.

Task 188. Continue a series of definitions characterizing the tone of voice: noisy, piercing, sharp ...

Task 189. Group verbs, adjectives, adverbs, considering what features of sounding speech they indicate. Complete each group with new words.

Minting words, chopping words, mumbling, moaning, choking on words, reporting, drawing out words, bewitching with words, lulling with their conversation, lisping; monophonic speech, intermittent speech, agitated, noisy, measured, slurred, distinct, difficult, calm, smooth, melodious, soft, strange, warm, fiery, exciting, quiet, loud, dry, stilted; speak quietly, loudly, quickly, slowly, calmly, politely, rudely, decisively, with fervor, with difficulty, with enthusiasm, with pride, kindly, frankly, willingly, sincerely, affably, fieryly, emotionally, lively, enthusiastically, angry, evil , defiantly, peacefully.

Task 190. Read expressively aloud several times, changing the pace and strength of the voice, the text of Z.V. Sovkova "Jump Rope":

I'm jumping with a skipping rope

I want to learn

So control your breath

It could hold the sound

Deep, rhythmic

And it didn't bother me.

I jump without a break

And I don't seem to be jumping.

a whole hour!

Task 191. Read excerpts aloud expressively from Pushkin's "Poltava" and Svetlov's "Grenada". What is the difference in intonation when reading these texts?

1. Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle,

The thunder of cannons, the clatter, the neighing, the groan,

And death and hell on all sides.

2. We were walking,

We raced in battles

And the "bullseye" song

They held it in their teeth.

Ah, this song

Until now keeps

The grass is young

Steppe malachite.

8.4. Types of intonation

When someone speaks to you, how do you know when someone asks you something and should answer? Haven't thought about it? After all, everything seems to be very simple. But is it simple? Let's figure it out.

Imagine; a note was handed to you, It says: We will go to the river tomorrow, but there is no punctuation mark at the end of the sentence. How, in this case, to understand whether they invite or ask? If they ask, then about what? About who will go or where will he go, or maybe when will he go? But if the writer pronounces this sentence aloud, it is immediately clear by intonation whether he is telling or asking, and what he is asking about. From this we can conclude that there are certain types of intonation in the language. And it is surprising that neither before school nor at school, intonation is specifically taught, and all of us who speak Russian know how to use it. Knowing intonation for a speaker can be considered an innate skill.

It is clear, of course, that linguists who study phonetics study intonation, especially its syntactic function. This is what we will have to figure out, that is, to understand what happens to the tone of voice, how it changes, what is its intonation pattern when pronouncing declarative and interrogative sentences. But before talking about this, it is necessary to make a few clarifications.

Declarative and interrogative sentences themselves can have different intonation. It all depends on what they express: surprise, uncertainty, presumption, disagreement, or that the speaker simply did not understand and asks again. This testifies to the diversity and richness of Russian intonation, but, accordingly, complicates its study.

Task 192. Say sentences with all possible intonations.

1. We will go to the zoo tomorrow. 2. I don't like it when it's hot. 3. You want to know my opinion. 4. How good, how fresh the roses were. 5. And what do you think about this. 6. Everyone is long gone.

8.5. Pause, its types

Moscow Art Academic Theatre. One name makes everyone who has ever visited it in awe. The famous curtain depicting a seagull soaring in the air. In the hall, in the foyer, there are no gold paintings, no decorations, no velvet, no chandeliers sparkling with crystal. The main thing here is the acting of the actor, his resonant voice, carrying thoughts, aspirations, hopes, the richness of the human soul to the audience. The motto of the theater is the truth of life.

Now it would be nice to make a musical pause,

But this is not possible in the textbook.

We can only talk... about pauses.

You ask: “What is there to talk about? What might interest pauses? You have to shut up, that's all." Well, not really.

Indeed, a pause (Latin pausa, from Greek pausis - “cessation, stop”) is a temporary stop of sound, during which the speech organs do not articulate and which breaks the flow of speech. But silence can also be expressive and meaningful. There is even such a science - pausology. The first US pausologist prof. O'Connor believes that pauses can say about a person no less than words, that in a conversation they take 40-50 percent of the time.

It is no coincidence that, speaking about the opening of the Moscow Art Theater, about the first performance, about how the actors played and how the audience accepted them, Nemirovich-Danchenko also writes about ... pauses: pauses are not empty, but filled with the breath of this life and this evening; pauses in which an unspoken feeling was expressed, hints of character, halftones. This means that pauses convey the mood of the speaker, his emotions, contribute to the disclosure of his character. But pauses are still not words. They are only hints, semitones. One must guess about the meaning of pauses, one must be able to understand, to catch their meaning.

A fine connoisseur of stage art, well aware of the possibilities of a living, oral word with its variety of intonations and pauses, Nemirovich-Danchenko understood that there are different pauses. He wrote: the pauses are not empty, but filled.

What did Vladimir Ivanovich mean when he contrasted empty pauses with filled ones? What pauses did he consider empty? In a letter to K.S. We read to Stanislavsky: “First of all, the role is to know how “Our Father” is, and to develop fluent speech, not streaked with pauses, fluent and easy. So that the words flow from your lips easily, without tension. This, it turns out, is the reason for the appearance of empty pauses in stage speech. This is poor knowledge of the text of the role, when the actor is constantly thinking about what to say next.

Empty pauses are found not only on the stage, but also in everyday life. The student did not learn the lesson, but he was called to answer. He stands at the board and toils. He will say a few words and,., pause, waiting for clues. There are other situations as well. There are people who are very limited, their intellect is poorly developed, they read almost nothing, they know little. When they enter into a conversation, their speech is “dotted” with pauses that mean nothing, do not carry any information. Such pauses do not create comfort during communication, they drag out the conversation, and even annoy some interlocutors.

Someone may object: “But a person, when he speaks, must think about what and how to say. This takes time, so he pauses. Is it bad?"

Of course not! Hesitation pauses, i.e., pauses of reflection, reflection, should not be confused with an empty pause generated by the absence of thought. problem, they are looking for a solution to the issue, thinking it out loud. Pauses help speakers to formulate their thoughts into sentences, to find the best, most accurate and clear form of presentation. Pauses of reflection occur anywhere in the utterance and reflect fluctuations in the choice of possible speech means. They can be replaced by combinations of words: perhaps, to be more precise, it is better to formulate it like this, it would be more correct ..., no, it should not be said that way. After these reservations, a new formulation of the thought is given. Hesitation pauses are appropriate and necessary.

However, of greater interest to speakers and researchers of sounding speech are the pauses that accompany emotional speech.

A pause can also be called expressive-emotional - a reaction to the performance of a work of art. It can be a performance, singing, artistic reading, ballet, an orchestra playing, a musician's performance. Such a pause expresses the emotion of not one person, but many spectators and listeners and testifies to the highest degree of their enthusiasm. Such a pause is the highest reward for performers, masters of the stage.

There are other types of pauses. In order for speech to be clear and understandable, it is necessary to put the words in order before memorizing the test or saying it out loud, correctly combine them into groups, that is, into speech beats. Then it will be clear which word refers to which, how they are combined, from which segments phrases are made up. Here is how, for example, a poem by M.Yu. Lermontov:

Farewell, unwashed Russia /

Slave Country/

master country/

blue uniforms/

devoted people to them /

Perhaps behind the wall of the Caucasus /

I will hide from your pashas /

From their all-seeing eye/

From their all-hearing ears/

When a poem is pronounced, each speech measure is separated from the previous one by a pause, which is called intonation-logical.

A logical pause can be an insidious sorceress. The fate and life of a person sometimes depend on it. The verdict was passed: Execution cannot be pardoned. What should the performers do? If you read Execute / cannot be pardoned, then the convict says goodbye to life. If it is impossible to read Execute / pardon, then his life is saved. This example is widely known. It is included in various tutorials.

Task 193. Determine how the moral of I.A.'s fable will change. Krylov, if you pause where the sign (//) is.

And the casket // just opened.

And the casket just // opened.

In the first case, it is emphasized that the lock has a simple device. Hence the moral: a person sometimes complicates the situation, the situation, the relationship. In the second version, the main thing is that the chest was not locked at all. Moral: there is nothing to break into an open door.

Task 194. When does a pause make a sentence ridiculous?

From joy in the goiter // breath stopped.

From joy / in the goiter breath stole.

Of course, the first sentence is absurd, since it is not joy that is in the goiter, but the breath in it has stolen.

Task 195. Break the sentences given below into speech measures and determine how their meaning changes.

For example: It is forbidden to use someone else's // phone. It is forbidden to use someone else's phone //.

1. A recently arrived doctor spoke in print. 2. In the city, newly earned money was melting away. 3. An hour after the receipt of the case, Kolesnikov called me. 4. They report receiving mail very late. 5. Men and women with children were standing at the bus stop.

In the theory of public speech, in addition to the intonation-logical one, there is also a psychological pause.

In the studies of scientists, a lot of attention is paid to intonational-syntactic pauses, which reflect the syntactic nature of sentences. They correspond to punctuation marks in written speech and differ in duration. The shortest pause is at the place of the comma, and the longest one is required by the period. An intonation-syntactic pause separates homogeneous members of a sentence, plug-in constructions, appeals in sounding speech; a pause fills in the place in the sentence where the omission of a word is implied.

There is another kind of pause. It occurs when reading poems. This is due to a phenomenon that poets call transference. Transfer (French enjambement, from enjamber - “to step over, jump over”) - a mismatch of intonational-phrasal articulation in verse with metric articulation.

Let's analyze this using the example of lines from the poem by A.S. Pushkin "The Bronze Horseman"

Some kind of dream tormented him.

A week has passed, a month has passed

He did not return to his home.

His desert corner

I rented it out, as the term expired,

The owner of the poor poet.

Eugene for his good

Didn't come. He will soon light

Became a stranger. Walked all day,

And slept on the pier; ate

In the window filed piece.

In the first line, the pause and lowering of tone at the end of the sentence do not violate the metric division of the verse. What about the next lines? The verse requires a pause, and according to the logic of the division of the sentence, it should not be at the end of the verse.

How can the architectonics of verse be saved? How not to destroy it? Again, a pause comes to the rescue, called the structural-terminal or simply structural. We read about it from our contemporary - literary critic G. Artobolevsky:

It is necessary that this syntactic articulation, which is natural in prose, be combined with those necessary pauses that are determined by the ends of the verses:

A week has passed, a month has passed

He did not return to his home.

Here it is not at all difficult to pause after “he”, even with a real psychological motivation. This is a pause of interest, attention, tension, during which the listener seems to have a question: well, what? what about Eugene? It is only necessary to make sure that by lowering your voice you do not put a non-existent period at the end of the line, so as not to read like this:

A week passed, a month. He.

The point - the end of the phrase - in oral speech is indicated by lowering the voice. In the case of “verse transfer,” on the contrary, at the end of the verse, one must raise one’s voice not in the sense of strength, but melodically, so that it is clear to the listener that one must wait for the continuation of the phrase. And then you can pause as long as you like.

The tempo of poetic speech is not a constant value: it changes depending on the continuously pulsating artistic content - the poet's experiences, which are also reflected in the intonational movement.

Let's move on from poetry to prose. Let's imagine the following picture: there are entrance exams. Applicants write a dictation. The teacher reads the text slowly, repeats parts of the sentence and pauses while repeating. What are these pauses? What are their names? What is their function? Before answering, let's take another case. At the pier is a tourist steamer "Captain Sutyrin". Passengers stand on the deck, mourners - on the pier. Everyone is in a hurry to say to each other the words that seem the most important, the most necessary. I... you... please... be careful... What? Be... careful...ro...women...understand...?! Another picture. Recruits are marching on the parade ground. The command is distributed: On ... le ... in! step... march!

Pause... pause... pause!

What are they caused by? situation, what is their function? It is necessary that the applicants have time to write the text of the dictation, so that in the noise and at a long distance people hear and understand each other, so that the recruits have time to prepare to fulfill the command. Since pauses are caused by a particular situation, they are called situational.

There are also physiological pauses. They appear when there is not enough air in the lungs, especially when short of breath, or when the central nervous system is affected and as a result the right word is forgotten, it is difficult to express any thought. Well, if a person does without such pauses!

Yu. N. Karaulov

The problems that we are discussing here ultimately come down to assessing the state of the Russian language, and the language of the mass media is a mirror of this state. The very word "state" is charged with a negative assessment, suggests some kind of defects in the subject. Wed "the condition of the patient inspires fear", "the condition of the structure of the building is fraught with dangers", etc. But when we talk about the state of the language, are we concerned about the destruction of its morphological structure? Or are we worried about changes in its phonetics, in its syntax? No, its structural organization is quite prosperous, and those trends in its development that observers note are normal, natural. Such, for example, is the trend towards analyticism that has been talked about for three decades. (I will note in parentheses that this trend is expressed in the ever-expanding practice of replacing case phrases with prepositional ones: the ceremony of address - in circulation, the course of reforms - for reforms; the document preparation group - on preparation ..; the case of disappearance - with the disappearance of money ...) . These are active processes in word formation, for example, the creation of nouns with the suffix -ization: renting, billing, lumpenization, dollarization, etc.
All these are phenomena of linguistic evolution: a language can exist only by constantly changing in time, otherwise it dies, as the languages ​​of small peoples die. In reality, speaking about the state of the Russian language, we are talking about the state of the people who speak it, about the transformations that occur in the speech behavior (and, therefore, inevitably, in the linguistic consciousness) of native speakers.
Over the past decade, the changes that have taken place in the Russian language are associated with the development of new areas of its application. First of all, this is the sphere of politics, the political language, which was formed in place of the standardized, ritual, nationalized language of politics that existed in Russia (Soviet Russia) from the 30s to the 80s of the last century. Another no less important area is the new legal language, which has taken shape under the influence of the global "democratic transition", which has captured our country in its movement. To date, the language of politics and the language of jurisprudence have grown into independent secondary language systems that have a powerful influence on the literary language, on the language of mass communications.
Continuing the list of new spheres of linguistic existence, I must name the language of computer technology and the language of the market, market relations that have deeply rooted in our lives. Finally, and this, perhaps most importantly, under the influence of the general processes of the democratization of society, the tongue of the common people "loosened"; stiffness and stiffness disappeared; standardization in the speech behavior of the average linguistic personality, which were characteristic of the everyday linguistic existence of a person in Soviet Russia.
After all, what struck a philologist who found himself abroad in the 1960s and 1970s? This is the spontaneity, the freedom of expression of the average Frenchman or American who suddenly finds himself on the street in front of a television camera. A Russian person in such a situation was lost, switched to a complex language and ritualized formulas inspired by a newspaper or an announcer's speech on the air. A politician of those times could only speak on a piece of paper. Now there is none of this, which, of course, is gratifying.
The liberated colloquial element has now overwhelmed our daily life and our public communication, which is most noticeably reflected in the language of the media. In general, spoken language has always been the most effective source of language renewal. So it was in the time of Pushkin, when the colloquial element became one of the factors in the formation of the Russian literary language. So it was in the era of Dostoevsky and the democratic movement of the 60-80s of the last century; so it was in the 20-30s of the XX century; finally, the same origins have the emerging modern look of the literary language of the beginning of the 21st century.
Modern language development is under the influence of two conflicting forces: on the one hand, an active line of influence on the literary norm from the liberated potential of colloquial speech, its promotion into the public sphere, into mass communication is clearly traced. And this strength is supported by the processes of borrowing foreign words, caused by the inclusion of Russia in the global economic, political, cultural system. On the other hand, there is a no less strong, although perhaps less noticed by us, influence on the literary language of the norms and language standards of the nationalized language of the times of totalitarianism. Here are examples of this second force. In a recent presidential decree, there is this wording: "Servicemen cannot leave the army without receiving all the payments due to them ..." I draw your attention to the form of the verb to leave. It can have two meanings:
passive meaning, i.e. "a soldier cannot be fired";
return value, i.e. "a member of the armed forces cannot apply for resignation."
The meanings are different, I would even say the opposite: either the authorities cannot fire him, or he himself cannot leave. Which one is meant is not clear. This is a typical sign of the Soviet language of totalitarian times, when the writer and speaker tends to hide behind a vague form of a passive construction or an impersonal sentence in which the agent, subject, actor is not named. Wed also (from the newspapers of the 1960s): "How many times, for example, was it said that a huge amount of metal is spent irrationally in our country?" (Who said? Who spends it?)
From recent statements: "The discussion of the budget in the State Duma has been postponed." Or take such a document of our era as the Constitution of the Russian Federation. In her text, the verb is used 17 times in the passive form guaranteed: freedom of economic activity, local self-government, freedom of conscience, freedom of the mass media, etc. are guaranteed. But nowhere is it said who is guaranteed, what is the mechanism for observing these guarantees, and it is far from always clear who is guaranteed this or that democratic benefit.
These two forces - 1) the use of colloquial speech resources that expand the expressive possibilities of the literary language, and foreign borrowings, and 2) the repeated standards of the totalitarian linguistic heritage, fixed in the use and unconsciously, the birthmarks of totalitarianism in our linguistic consciousness - (these two forces) symbolize two multidirectional trends - evolution and dissolution (degradation) of the modern language.
Democratization and liberalization of the ether under the influence of the colloquial elements give not only positive results, they contribute not only to progress. Along with the liberation of the literary language from the constraint of totalitarian canons, the flow of distortions of correct and beautiful Russian speech increased. Deviations from literary norms that characterize the current state of the Russian language fit into three groups of facts of a different order: systemic, cultural and speech, and ethical.
Violations of fundamental systemic patterns are caused by the influence of "another system" (the speaker's native language is not Russian, or elements of the dialect are preserved in his speech: to plow the land, plant potatoes, to his sister, to the widow, a lot of harvest is harvested). Such violations are not found in the speech of commentators and TV presenters.
The largest number of language errors is associated with non-compliance with cultural and speech norms consecrated by literary tradition, norms enshrined in codified rules, norms recommended by authoritative editions of dictionaries and various reference books ( cf. put on and put on, stockings and socks, lay down and put down, brought and brought, etc.).
Finally, the third group of violations of the literary norm concerns the ethical and aesthetic aspects of the culture of speech, the rules of public speech that are historically established and well-established in Russian culture, prohibiting the use of words that were previously called unprintable (now you can’t call them that) or obscene (also not modern, so as censorship is now mainly own, internal to the speaker). Previously, there was an absolute ban on the use of such words. Even scientific studies devoted to the Russian mat (about its origin, in particular) were labeled "for official use."
Now the road to "matisms" is open not only in fiction, but also in the newspaper, in the cinema and on television. Regarding this kind of vocabulary, it should be noted that its public use is contrary to the Russian cultural tradition. This is expressed in the fact that, unlike in English or Spanish speech, where such vocabulary is quite easily "inserted into the line" and is just as easily perceived by the listeners, in Russian public communication, swearing characterizes the speaker in a negative way, at the same time humiliates the listener, imposing low speech stereotypes.
Language errors and violations of the norms of speech culture are committed unconsciously, representing distortions of correctness, which are due not only to ignorance, but also to the laws of spontaneous speech production. The ethical component of speech culture is violated consciously, purposefully, and these violations occur when the expressive side of the statement prevails over the semantic one. Expression, if it is achieved through the use of jargon or swear words to the detriment of the meaning and beauty of speech, does not increase the effectiveness of communication (I mean public communication), but rather makes it less successful.
Spontaneous speech production is subject to laws of different nature - linguistic, psychological and social. A purely linguistic pattern is an analogy that requires the speaker, for example, to equalize the stress in the word forms of the same word (begin - began - began - began); or causes the erroneous extension of the construction "about that" from the verbs of speech thought (told that; argued that; thought that) to all verbs of information transfer (explained that; saw that ; made sure that).
The operation of another law of a psycholinguistic nature - the law of economy of effort, which is one of the main factors in the development of a language, can also lead to negative consequences and generate errors. This law helps to explain, for example, the speaker's choice of those forms of expression that require less effort from him. So, it is easier for a Russian to pronounce a quarter than a quarter, although it is the second form that is normative. The wide spread of incorrectly constructed adverbial turnover (such as: conducting these studies, it became clear to us ...) is also caused by the law of economy, since such a turnover is easier to articulate than to build a longer subordinate clause. The operation of the same law can also explain overly bold word-building innovations (Protestants< протестующие демонстранты), и неоправданное подчас употребление иноязычных слов и выражений, транслитерировать которые для знающих иностранный язык проще, легче, чем подобрать правильный и точный русский эквивалент. Объем иноязычных заимствований в наше переходное время существенно вырос, и глупо стремиться поставить искусственные заслоны этому естественному процессу. В условиях глобализации современного мира заимствования неизбежны и необходимы. Они не представляют опасности для национальной самобытности такого богатого языка, как русский, но разумную меру соблюдать здесь тоже полезно.
The three laws I commented on are imposed on us - the speaker - by the very language and the mechanisms of speech production, and the consequences of these laws should become the object of patient and systematic educational work of philologists and journalists, the object of a new line of language education of society, namely, language criticism. The creation of such a direction is one of the main tasks of the Russian Language Council. Forms of development of language criticism can be different, for example, the book "Do not speak in a rough language."
Sometimes one hears such objections about the cultural and speech activities of philologists and journalists: language, they say, is a self-organizing system, and in the end such a system will itself cope with disturbances associated with violations of norms, it will put things in order, naturally getting rid of everything superficial , superfluous, not corresponding to the laws of its organization. Those who adduce such an argument forget that language, speech is not only an abstract system that owns a person, but it is also a person himself, this is a person who owns the language. And the personality is that point, that side, which lends itself to the influence, the educational influence of the bearers of linguistic culture. In good faith, of course. Let's do a thought experiment. Imagine that today's issue of "Moskovsky Komsomolets" reads - well, if not Pushkin, it would be difficult for him to understand modern newspaper texts, but, say, M. Gorky. What idea would he have of the modern Russian person - "reader" and "writer" - and the modern Russian language? It's hard to guess, but shocked, I think he would definitely be.
Moreover, the shock will be caused, apparently, not primarily by the possible cultural and speech mistakes of those who write or speak on the TV screen, although these mistakes can undermine the credibility of what is being said. Striking - for the perception of a person of another era - will seem not even the content side, not discussed topics and problems, but, above all, the general spirit and tone of the texts in the media. The tone is mostly irrespective of the problem under discussion - ironic, skeptical, mocking, and sometimes mocking. This feuilleton spirit, together with the use of uninhibited, not marked by ethical concerns, linguistic means that have passed from our everyday life, from oral existence to the pages of newspapers and on the air, is obviously intended, according to the authors' intention, to intimate communication with the reader-listener. But intimization is possible if the partners are equal, and there is no such equality, since the mass media is perceived by the bulk of readers-listeners as a teacher ("senior", "parent"), as a linguistic authority and a role model. As a result, we are dealing with a general decline in the cultural and speech level of language use in the media, which is naturally reflected in the everyday language life of society, in the "state" of the Russian language.
The only antidote to such a tendency can be conscious work to improve the culture of speech. The culture of speech is the point where science and life meet: the science of language meets the everyday linguistic existence of a Russian person. I am for this meeting under the sign of linguistic criticism to be friendly and fruitful. It is only necessary to remember that the correct use of the language requires effort and courage.

INFLUENCE OF THE TEXT OF A POPULAR LYRICAL SONG ON THE FORMATION OF SPEECH CULTURE OF MODERN YOUTH

Inyoshina L.G., Ph.D.,

teacher of Russian language and literature

GAP RS (Y) OU "Yakutsk road technical school"

Introduction

Since ancient times, people have exchanged thoughts with the help of words. With the advent of music, it became possible to do this more accurately. Music at all times has been a special kind of art that brings beauty, new ways of understanding the world. The song is the most common and popular musical genre, in which the lyrics play a major role. We hear songs every day no matter where we are. They all carry some meaning, but often it is not so easy to determine.

Relevance of the research work we have taken is due to the fact that in modern song poetry the word loses its meaning as a lexical unit and ceases to carry any meaning. The fact is that the authors of modern hits do not think about the real meaning and sound of words, but simply use them for rhyme, and in a completely wrong and even obscene form. Unfortunately, the song we listened to containing such lyrics is still remembered, leaving a dark imprint on the culture and correctness of our own speech. Modern society does not think about the meaning of the words of popular songs. In the pop songs of our generation, there is a lack of logical connection between sentences. When creating an image, the expressive means of the language are inappropriately used: metaphors, epithets. The melody dominates the rhyme.

From here we took research hypothesis: the modern song text not only reflects the cultural and linguistic state of the era, but also, having a special nature of impact on its addressees, primarily adolescents, forms a cultural and linguistic space, negatively affecting the speech culture of the future.

Purpose of the study – consider the word and its meaning as a lexical unit in the context of modern songs, and also find out what threat to the speech realization of the language, moral and cultural attitudes of the individual is the incorrect use of this word.

To achieve this goal, we set the following tasks:

to determine what genre of songs is popular among today's youth, and to bring out the most striking signs of this genre;

describe the form and content of the song text, which contribute to its inclusion in the language environment of young people;

analyze the verbal component of modern song texts for the presence of violations of language norms in it;

in the context of these songs, consider the word and determine its lexical meaning;

to analyze modern song texts as a factor influencing the language preferences, value and cultural orientations of the addressee (teenagers).

In the course of our work, we used research methods:

1) elements of lexical analysis,

2) sociological survey,

3) comparative study of facts.

Subject of study- an approach to the choice of words in modern song poetry.

Object of study are the actual lyrics of popular songs.

Novelty The theme is that in our time little is said about the influence of modern culture on young people. There were similar works, materials, but we could not find a deeper and more accurate analysis.

Practical significance work is determined by the possibility of using these materials when choosing musical works for listening, when conducting optional classes in literature, the Russian language, the Moscow Art Theater.

The following were used in the work.sources song texts: a) audio cassettes with recordings of popular songs; b) video cassettes with recordings of concerts, television musical programs, video clips; c) sounding speech (musical broadcasts of radio stations "Russian Radio", "Russian Radio-2", "Radio "Seven on Seven Hills", "Police Wave", "Love-Radio"; television musical programs "Saturday Evening", "Song of the Year", "Golden Gramophone", holiday concerts); d) Internet sites that publish song lyrics (www. megalyric. en, www. rambler. en, www. yandex. en); e) printed collections of modern popular songs.

Chapter 1. Problems of modern songwriting 1.1. Song genres

Word - the exceptional ability of a person to express his thoughts and feelings publicly; the gift of speaking, communicating with intelligently combined sounds; verbal speech. A combination of sounds that makes up one whole, which, in itself, means an object or concept; saying. Developing the word, people came to the conclusion that they connected it with music. That's how the song came about. Over the years, this kind of verbal and musical art has undergone great changes. There were new musical instruments, new words. Songs could already be classified according to their content into lyrical, patriotic, satirical, etc., according to their social function - into ritual, everyday, military combat, etc.; according to the executive composition - for solo, choral, with and without instrumental accompaniment. Now a lot of only Russian songs have been created, and each person chooses from this number exactly what he likes. waysociological survey we found out which modern genres of songs are most popular with our teenagers and young people, as well as with some older people. So, the students of our lyceum gave the greatest preference to pop song (“pop”), rap, chanson andR’ n’ B(Appendix 1). Let's define these genres.pop song (pop; from English. Pops- "popular") - there is no exact definition for it.In a broad sense, this term can be understood as any commercially orientedpop music, regardless of the subjective assessment of its quality and professionalism. Most often thiseasy-to-remember compositions. However, over time the wordpop music took on a different meaning. Now it is understood asa shoddy and unoriginal piece of pop music based on low-quality imitation of successful performers.The group "Brigadier Contract"There is even a song" Pops. This song sharply criticizes "pop", which refers to the domestic show business,execution under "plywood", advertising scandals, etc.Rap (fromEnglishrap, rapping) - rhythmicrecitative, usually read undermusicwith heavybit. Rap artist calledrapper. This is one of the few genres where the text is the most important thing in the song.R ’ n ’ B - a musical genre, especially popular in the United States, whose current position has been set since the 1940s by R&B music. Although the abbreviation "R" n "B" is associated with traditional rhythm and blues music, today this abbreviation is used more often to identify the style of African American music that emerged after disco in the 1980s. This new style combines elements of soul, funk, dance music and - as a result of the emergence of new jack swing in the late 1980s - hip hop. So far, the genreR’ n’ Balmost completely lostR& Broots, turning into a mixture of hip-hop and electronica.Chanson (thieves song) - musical genre, which is based on songs about captivity, prison and zone, i.e. about people deprived of their liberty. Even there is the concept of "thieves' romance." But in real thieves' songs, this very romance, oddly enough, is not. The main themes are betrayal of a friend (for example, M. Krug's song "Rose"), betrayal of a loved one, life in freedom, etc. Chapter 2. Analysis of selected texts The purpose of the predominant part of lyrical songs is to influence the state of mind of the listener, to make him empathize with the lyrical hero. Tactical methods of implementation: creating a warm trusting atmosphere, the formation of a positive emotional mood.In a popular lyrical song, the main tool for implementing strategies is a heterogeneous set of language and speech means. This is due to the specifics of the song genre and, above all, the fact that the song belongs to small genres of artistic speech. As a means of implementing communicative strategies and tactics in song texts, stylistic tropes are used that are characteristic of works of artistic speech, as well as colloquial, slang words and constructions that are inherent in colloquial speech and are not characteristic of poetic works. In order to enhance the effect on the listener, the authors of modern song texts use foreign vocabulary; cliched designs; statements, texts. So, for example, tThe following are the active methods of the strategy of approaching the addressee, creating an environment “one’s own / one’s own”: 1) the use of youth and general jargon: I don’t find a place for myself,Stopudovo : I must be suffering for you -I'm just no. I'm flying away from the buzz (Spanish: Gluck’ oza); 2) inclusion in the texts of barbarisms:I will not save you, catch up, remember, kiss,Don't call me againThe last thing I need is yourscombos (Zemfira); 3) direct, indirect or hidden quotation of texts, for example, the inclusion of Internet vocabulary in the song narration (You write the address: "Nowhere Hopelessness dot ru "- isp. gr. "Ivanushki International"),Isikyu, emails we became so close, heartonline , in the tube beeps (Spanish gr. "Non-stop"), etc .; 4) direct or indirect quotation of advertising texts in order to display the everyday life situation, images of the experiences of the lyrical hero against the backdrop of the realities of everyday life: I am waiting for you... I sit on the sofa, turn on the TV: "Hello, this is operation "Tide" or boiling, This is hard work, this is not a hobby ... ». Where are you, my dear? Fly a bird, yes! I miss(Spanish gr. "Uma2man").Chapter 2

After reviewing the texts of various songs and analyzing them, we have deduced the most common types of speech errors that are found in almost all modern songs. One sentence could contain several grammatical and speech errors at once. Thus, a list was compiled containing the types of errors and their "bright" examples ( Appendix 3).

It has been established that the most common in such texts are logical (in 13% of the analyzed texts) and lexical (7%) errors:I like it very much / Her earring inumbilical cord // (Group "Legalize" "Future mothers")(word umbilical cord is used in a lexical meaning unusual for it, in the meaning of the word navel ); And all my friends notice when they see /Eyes look like dad // (Group "Tea for two" "Sonny")(disparate concepts are compared eyes and dad , while logically it is supposed to compare the eyes of the child and the eyes of the father). Also in modern song lyrics, accentological errors are common (6%):I don't understand / why I miss you / If you don'tzvo / niche me // (Group "Mirage" "Snowflake")(incorrect pronunciation used Zvo / nit ). There are also errors in management (syntax) (3.5%): I don't eat anything miss you // (Group "Nancy" "Blue-eyed"); errors in the construction of complex sentences (syntactic) (3.5%):I want / to open the door / / I want /always to be together / / I want / a good song / / (Julian “I want”)(only part of the predicate is present in the subordinate clause we have identified, it is difficult to establish the subject of the action); the use of the wrong form of the word (grammatical errors) (2.5%):This fairy tale for children on the shelfput // (N. Koroleva "Jealous"); violation of the order of words in a sentence (2%): And return you or I will be able / Only God knows this / / (Group "Nancy" "Who am I without you")(expresses uncertainty about you or the lyrical hero will not be able to return you, and not in can he do it). In modern songs, one can also find errors in sentences with adverbial phrases (grammatical-syntactic) (1.5%):But your glance is by chancecatching/ My hand stopped // (T. Bulanova "Umbrella"); errors in agreement (syntax) (1%): The river takes us Smooth oars in waves // (V. Butusov "Song of the Going Home").
An analysis of the modern song text for the presence of non-standardized, non-literary elements in it showed that syntactically unmotivated elements of youth jargon are the most common in it (40%):You are a coward / you are a coward to love me / Every day is realload / And you’re just a coward to love / / (Zh. Malakhova “Wedge”)(load - slang. ' to lie, deceive someone’ ). In the issue of perception of texts containing such elements, our materials confirmed the conclusions of G. V. Prantsova that “slang for most adolescents is not so much a way to identify themselves with a certain youth group, but a “source” of words that allow them to express or experience certain feelings."

Also in modern songs there are colloquial and colloquial elements (13%): I have love no/ I will find it on the Internet//; The years have passed / Gorodetsky does not grieve / / Vodka is jamming/ is friends with vampires// (Group "Umaturman" "Night Watch"); elements of abusive, obscene vocabulary (4.5%): I realized that they would not open / nasty cattle// <…>He throws at me asshole in short, you are the last // (Group "Factor 2" "Drink Less"); elements of criminal jargon (2.5%): A good Terminator wets enemies / And here is a new Governor for you / Such is the love of the people / / (Gang Eros Group, Columbia Pictures) (wet - jarg. 1) 'beat, beat someone'; 2) 'kill someone' ). Errors found in song lyrics are often caused by the desire of the authors to observe the rhyme and rhythm of the text intended to be performed: The Taming of the Shrew / I and the signorina / / I really like it / Her earring in umbilical cord// (Group "Legalize" "Future mothers") (signorina - in umbilical cord); Maybe it will help to be / To be to-to-to-to-to-kinder / To be prettier / e-e-e// (Group "Animals" "I sculpt from plasticine") (kinder - more beautiful / e).

2.1 Negative trends in the stylistic appearance of modern popular lyric songs

The genre of the song is unique in terms of mass character and social significance, since the song occupies a significant proportion of air time, has a wide audience and is very popular. The main negative trends in the stylistic image of a modern popular lyric song are: 1) the priority of "looseness" in the choice of means, often to the detriment of a sense of proportion: I broke into your life and youstunned (Zemfira); Oh, Yura, Yura, Yura, I'm like thatstupid that fell in love with you...(Spanish Gluk'oza); 2) active use of vernacular All of us, women are bitches (Spanish I. Allegrova);That's how I would take and give head (Spanish A. Pugacheva) and jargon: you love and stop showing off (Spanish M. Galkin - A. Pugacheva);I forgot everything punctures yours open up rock out with me(Spanish K. Lel); 3) the use of means of speech aggression with a predominance of jargon, colloquial constructions: I askedbring down you,sorry , No more topic in your conversation(Spanish A. Tsoi); 4) the use of offensive, stylistically reduced vocabulary in relation to the subject in order to lower his status in the eyes of the addressee: her lifestupid - gray fragment. Hello,second hand girl ! (Spanish A. Pugacheva); Bad boy , Gone - such a chip ridiculous boy!(Zemfira); 5) abuse of foreign language vocabulary, as a result, the semantic content of the song remains partially hidden from those listeners who do not speak one language or another: How many notes I sang, their flames will gather in flocksSometime , sometime . Someone will hear and understand my words on the contrary,I hear you lie (Spanish gr. "Guests from the Future"); 6) active use of barbarisms in combination with jargon: Mylove story shorter than the night, I look at the time, andunstoppably winds the taxi meter to the north(Spanish gr. "Beasts"); 7) euphemization of speech (hidden subtext is easily restored by any native speaker of the Russian language): Here is such music, such, damn it, eternal youth(Spanish group "Chizh and K"); I will send him to heaven for an asterisk, Of course, everything can end worse ... I will send him to ...(Spanish Lolita); Something pulled me to say: "Wouldn't you go for a few letters again!"(Spanish Gluk'oza); 8) violation of case management: Released a titmouse into the sky,turning into a white crane (Spanish Jasmine); What dreams wander in us, What vivid pictures, Wefor each other in themloved (Spanish I. Allegrova); 9) violation of the stylistic compatibility of words: our loveterribly beautiful (Spanish gr. "Beasts"); 10) the use of stable statements: Oh how young you weredrove my heart crazy (Spanish V. Presnyakov) - a mixture of statements drive me crazy and smash/ conquer a heart; 11) inattention to the semantics of words: We parted, like ships in the sea disperse in the fog, beckoning with a beacon(Spanish Valeria); 12) primitivism and absurdity of texts: Musi-musi, pussy-pusi, my dear, I'm on fire, I'm all in taste next to you(Spanish K. Lel); 13) creating absurd images: her emerald eyebrows spike under the sign of the moon(Spanish gr. "Roots").

2.2. Violation of stylistic norms

So, the most numerous are the errors associated with the violation stylistic norms , which are understood as special techniques and means that contribute to the most accurate and figurative-emotional expression of thought, i.e. accessibility, consistency, purity. Of the 50 texts we examined, this violation occurred 65 times.

In 11 cases, the authors unjustifiably used foreign vocabulary : "Erase it from memory”(V. Daineko), “And all men, know, get up in stand by mode” (“A - studio”), “... the lights of a large CITY… You're strange MAN, in everything and everywhere…” (E. Vaenga).

Also, authors sometimes resort to creating occasionalisms (individual-author's neologisms), which also makes it difficult to perceive the meaning of the text. There were 4 such violations. For example: “I - flyer, I - letophile, I'm a summer drug addict ”(Potap and Nastya Kamensky).

vernacular – 14: “After all, you are so good, but know that I am not the devil!” (Potap and Nastya Kamenskih); “Only where he wears that gray-haired old man” (“Disco Crash”).

Profanity most often found in rap compositions. So, we counted 13 cases in 9 scanned texts: “Loneliness is a bastard, loneliness is a bitch” (Slava); “I will not use swear words” (“Gas Sector”).

An equally common flaw is violation of lexical norms , which means the use of words and set expressions in accordance with their meaning - 4: “I want to flip through from scratch” (V. Daineko); "Burgundy horizon, burgundy burgundy in a glass" (Yolka) ( Appendix 4).

2.3. Violation of grammatical norms

There were violations in the texts under review. morphological norms , which regulate the correct formation of grammatical forms of words of different parts of speech - 3: “The ice ghetto spoils children” (Chelsea group).

Violation syntactic norms , regulating the correct construction of phrases and sentences - a less common flaw in the analyzed texts - 3: "How many days I cried on a pillow" (Bianca). The rest of the errors we found were insignificant and were very rare.

Thus, among the most common violations of the norms of the literary language in the texts of modern performers are the use of slang and colloquial expressions, verbosity, violation of word compatibility and incorrect formation of their grammatical forms.

Chapter 3 The impact of modern song text on the speech practice of adolescents.

Our survey among adolescents showed that they easily understand the song text when they perceive it in sound form (84.6% of the respondents compared to 46.2% when they perceive the text in visual form, i.e. as a printed text), but violations in the text in this case are much more difficult to detect (61.5% of respondents identified obscene expressions and 0% - elements of youth jargon when perceiving the song text in sound form compared to 92.3% of respondents who noted obscene expressions in the text, and 53 .8%, who highlighted slang words and expressions when perceiving the text in printed form).

The modern song text is repeatedly listened to by its addressees (at a disco, concerts, while watching TV programs, individual listening, etc.) and is deposited in their long-term memory through the mechanism of involuntary memorization. Memorization of the song text (together with the violations present in it and the norms and values ​​presented) contributes to the introduction of the words and structures used in it into the speech practice of adolescents, as well as the formation of their worldview and image of I.

Chapter 4 The role of modern song text in the formation of value orientations of adolescent youth

The modern song text reflects the vision of the world and the value orientations of teenage youth.

Determined that at the event level of the text, the authors of modern songs point to the primacy of entertainment and pleasure for a teenager (cinema, night races in Moscow, dancing, booze, continuation of the night with a baby, a heifer, fights and showdowns): I was predicted from childhood to serve the exact sciences / Now i feel the pull only to plan and bitches//(Group "Casta" "Dedicated to our boys"), where the plan is a drug, Every day booze/ every day parties/ If survived / so and so wounded animals// (Gang of Four Group "Reservation here").

At the level of values song lyrics show that pleasure is above all for a modern young man (plan, vodka, whores, sex instead of love): Yes, I'm a pill / suck me baby / suck me / baby // (Group "Forbidden Drummers" "Baby"). He has a thirst for enrichment, a desire for a carefree (awesome) life with a bunch of dough, the values ​​\u200b\u200bthat, in his opinion, the West loves are important (Bruce Willis, Big Ben, Gabbana and Versace, US dollars): But a person is not sad about that / The soul yearns for another / He thinks how to take where / million US dollars) // (The Forbidden Drummers Group), hate their own country and their city (bare lair, everything in this city has its price, the capital ... choked in a puddle of base passions), the values ​​​​of previous generations are subject to ridicule (old maple, the old mill, Hamlet, Romeo and Juliet): The boy and the girl burned with passion / Well, can you argue with fate / / Since the parents did not mind / Then the children committed suicide / / This is such a canoe / (Garik Bulldog-Kharlamov “This is such a canoe” ).

At the level of communication of a young person with society the authors of popular songs show and impose the idea that for a modern teenager the main thing is me and mine (love, suffering, joys), and everything else can be described / described and called names; the primacy of animal instincts is important: I sex machine/ you are a spring in it / Shaking your hip / wake up the beast in me / / (Group "Play on words" "Masks").

When analyzing the modern song text from these positions, we determined that the attitudes of the lower level (physical, personal, interpersonal: I came to eat for you and.../ well, in general, it’s clear / (Igorek “Wait”)) are found in 86% of such texts: in 32% of texts they prevail over the upper-level attitudes (social, principled, ethnic, planetary: They say you need to get out of here on the idea / Get on your feet / start a family/ to raise children// And maybe it's right/ But the past can't be left and abandoned/ Later found// Don't forget their roots/ remember/ There are things an order of magnitude higher// (Group "Casta" "An order of magnitude higher")), in 54% of the texts there are only settings of the lower level.

Thus, it was revealed that most of today's popular songs are clearly destructive. Since the modern song text is both the result of the speech-thinking activity of young people and the impact on the addressee, the indicated content features of the modern song text simultaneously reflect and form the features of the teenager's linguistic personality.

Young people easily detect elements of meaning in a modern song text thanks to a special sound energy and include it in their language environment. And constant listening to such a text inevitably leads to memorization and assimilation of the elements of this text.

Consequently, listening to modern song texts has an extremely negative impact on its addressee, primarily on the formative personality of a teenager.

Conclusion

After checking the song lyrics and conducting their lexical analysis, we came to the conclusion that modern songs are a breeding ground for various kinds of errors. According to the results of the study, it can be said that the pop song genre is the safest for speech. It was in the songs of this genre that the least amount of any shortcomings was contained. Despite the overall result, there are individual examples where there are a lot of errors. In this case, it is easier and better to draw general conclusions than to analyze individual genres, where the situation is almost the same.

The results of a sociological survey showed that young people, when reading lyrics, often cannot determine their theme and main idea. This suggests that while listening to a modern song, a person sometimes does not think about its meaning. Maybe that's why most of the young people choose foreign songs, just without thinking and not even trying to understand the lyrics, relaxing to the beautiful music, beautiful accent and English dialect.

After a lexical analysis of the lyrics, it became obvious that in some of them there is a lack of logical connection between the sentences.

3. The analysis showed that the texts of modern songs are mostly written in accordance with the requirements of the culture of speech. However, if we turn to popular music, then there has been a dangerous tendency towards illiterate composition of texts. Some artistic means of the language: epithets and metaphors are used inappropriately and sometimes even ineptly.

4. In the songs of our days, rhyme fades into the background: it is dominated by melody.

5. Almost the main threat is that songs containing profanity are popular among young people. Thus, the younger generation draws foul language from the cultural sphere and, using these words, underestimates their personal status.

I would also like to note that, despite all these factors, the modern song continues to be popular. Critics do not take up the analysis of the texts of modern works. And the older generation does not accept modern songs only because of the appearance of the performers and their public life, which is the subject of close attention of the press.

Popular music is a natural and important sphere of life for teenagers and youth, influencing the upbringing and formation of speech culture. However, the non-normative use of linguistic means by songwriters is very common and negatively affects the culture of speech not only of adolescents, but also of the older generation. In such conditions, the upbringing of the younger generation is of particular importance, since the future of the language directly depends on it.

Bibliography

Dal, V.I. Illustrated explanatory dictionary of the Russian language. Modern version. [Text] / V.I. Dal. - M: Eksmo; Forum. 2007. - 246 p.

Iskhakova, N.R. Musical preferences of youth. [Text] / N.R. Iskhakov. – M.: Socis. - 2006. - P.35 - 37.

Kapanadze, L.A. The space of Russian speech. From the newspaper "Russian language" / No. 9, 1996.

Polezhaeva A. N. Linguo-ecological problems of mass culture (on the material of modern pop songs) // Linguistics. Bulletin of the Moscow State University. Philology. Culturology. Pedagogy. Methodology. - No. 3. - 2010. - S. 29-33

Polezhaeva A.N. Modern song text and the formation of adolescent speech culture // Personality. Culture. Society. T. 12. Issue. 1 (53 -54) - M, 2010. - S. 313-317.

Internet sources

1. www.stas-mihaylov.ru

2. www.biankanumber1.ru

3. vk.com/ak47_page

4. http://www Music

APPENDIX

Picture 1

Survey among young people aged 18-25

Diagram 1

Musical preferences of modern youth

Survey among young people aged 15-17

Diagram 2

Most Popular Artists

Diagram 3

Diagram 4