Grammar

Grammar of Spoken English Discourse: The Intonation of by Gerard O'Grady

By Gerard O'Grady

David Brazil's pioneering paintings at the grammar of spoken discourse ended at A Grammar Of Speech (1995) because of his premature demise. Gerard O'Grady choices up the baton during this publication and assessments the outline of used language opposed to a spoken corpus. He contains findings from the decade of corpus linguistics research, significantly pertaining to words and lexical goods better than unmarried orthographic phrases and ellipsis. He demonstrates the additional communicative value that the incorporation of 2 structures of intonation ('Key' and 'Termination') convey to the grammar.

O'Grady reports the literature and covers the speculation sooner than relocating directly to a realistic, analytic part. His ultimate bankruptcy reports the arguments, maps the line forward and lays out the sensible functions of the grammar. The booklet could be of significant curiosity to researchers in utilized linguistics, discourse research and in addition EFL/ESL.

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Extra resources for Grammar of Spoken English Discourse: The Intonation of Increments

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Cruttenden (1997: 121) reports that acoustic measurements of pitch peaks in conversational speech have found little evidence of declination. Tench (1996: 28) notes that the recognition of phonological paragraphs is most A Review of A Grammar of Speech 39 apparent in pre-planned discourse such as news-reading, bible-reading and anecdotes. He states, however, that it is not impossible to find phonological paragraphing in more spontaneous forms of discourse. Wichmann (2000: 108) produces corpus evidence18 which both favours and disfavours the theory of supradeclination: the decline of pitch across paratones in English.

2. Brazil et al. (1980: 25) argue that even though they hear termination ‘as an independent, simultaneous, choice rather than as a “secondary one” depending on the speaker’s having selected a particular tone’, falling tone coupled with high, mid or low key is ‘not unlike’ what ‘Halliday handles in terms of the three variants of end-falling tone’. Similarly we can speak of three variants of end-rising tone: high, mid and low. 2 The communicative value of tone coupled with termination Tone Termination Communicative value Falling/rise-falling High Falling/rise-falling Mid Falling/rise-falling Low Rising/fall-rising High Rising/fall-rising Mid Rising/fall-rising Low Projected to alter the existing state of speaker/hearer understanding: invites adjudication.

152). Brown, Currie and Kenworthy (1980: 136) argue that speakers mark new topics or subtopics by raising initial stressed peaks and that if speakers wish to signal that their contribution is a continuation of an existing topic they will produce an initial pitch which is low in their pitch range (also Brown 1990: 92, Couper-Kuhlen 1996: 398, Cruttenden 1997: 123, and Gussenhoven 2004: 71). Brown et al. note that their analysis ‘bears a close resemblance to that of Brazil who has examined the role of “key” in discourse’.

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