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Read the following dialogues, put stress-tone marks on them using different types of scales and practice reading them.


If you can keep your head when all about you

Are losing theirs and blaming it on you,

If you can trust yourself when all men doubt you

But make allowance for their doubting, too.

If you can wait and not be tired by waiting,

Or being lied about, donít deal in lies.

Or being hated, donít give way to hating,

And yet donít look too good, nor talk too wise.

If you can dream and not make dreams your master,

If you can think and not make thoughts your aim,

If you can meet with Triumph and Disaster

And treat those two impostors just the same;

If you can bear to hear the truth youíve spoken

Twisted by knaves to make a trap for fools;

Or watch the things you gave your life to broken

And stoop and build them up with warn out tools.

If you can make one heap of all your winnings

And risk it at one turn of pitch and toss,

And lose and start again at your beginnings

And never breathe a word about your loss.

If you can force your heart and nerve and sinew

To serve your turn long after they are gone;

And so hold on when there is nothing in you

Except the will, which says to them: ďHold on!Ē

If you can talk with crowds and keep your virtue,

Or walk with kings nor lose the common touch,

If neither foes nor loving friends can hurt you,

If all men count with you, but none too much.

If you can fill the unforgiving minute

With sixty seconds worth of distance run,

Yours is the Earth and everything thatís in it,

And Ė which is more Ė youíll be a man, my son.


Unit 2. Theatre



1. Listen to the dialogue. Put stress-tone marks on the second part of the dialogue. Learn this dialogue by heart.

Transcribe the sentences in bold. Find and analyze vowel reduction in them.


A Date for the Theatre


Mike Jack Mike Jack Mike Jack Mike Jack Mike Jack Mike Hallo, Jack. Why the rush? Where are you going? Hallo, Mike. Iím on my way to meet Joyce at the station. Weíre having dinner at a Chinese restaurant and then weíre off to the theatre. Do you often go to the theatre? Yes, Joyce and I usually go at least once a fortnight; sometimes more. Do you ever go? Yes, but I donít often find time these days. There are so many other things to do. True, true. Listen, perhaps Janet and I can arrange to meet you and Joyce one Saturday evening. We can have dinner together and go on to a theatre. Thatís a good idea. Look, I forget the name of the play, but thereís a good comedy on at the Theatre Royal next week. If you like, I can book four seats for next Saturday. All right. Iím meeting Janet later this evening, so I can make sure that sheís free next Saturday. Iíll ring you tomorrow to confirm if we are coming. Fine. I must fly now. Itís six oíclock already and Joyceís bus arrives at ten past. She hates waiting around and I donít want to spoil everything by upsetting her before we start our evening. Iíll phone you tomorrow then. Give my regards to Joyce. Have a good evening.


2. Listen to the dialogue. Practice reading it imitating its intonation. Pay attention to the sentences with the Sliding and Scandent Scales. How do they sound? Write them down; practice saying them, transcribe them and draw tonograms to them.


After the Cinema


Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry ˈWe shall be ↗awfully ↗late ̬home| if ↘that ↘number ↘12 ˏbus| ↘doesnít ↘come ̬soonÖ|| Letís ˈstand in this ˎdoorway| ˈout of the ˎwind.|| ˈAll ˏright,| but we ˈmust be ˎcareful| ↘not to ↘miss the ˏbusÖ|| ˈHow did you enˎjoy the ˏfilm?|| Iíd ˈnever have ˎgone| if Iíd ↗known it was ↗going to ↗be ↗so ˎsilly.|| ˋWhy?|| ˈWhat was ˋsilly about it?|| Well, ↘no ↘sane ˏman| would have ↘married ↘that other ̬girl| so ˈsoon after he had ˎmurdered his ˏwife.|| It was ˎsure| to ˈmake ˈpeople suˎspicious.|| If he ˈhad ˈbeen ˏsane| he ˈwouldnít have ˋmurdered her!|| Beˎsides| the ˈgirl wouldnít have ˏwaited ˙for him| if he ↘hadnít ↘asked her iˎmmediaˏtely.|| ˈAll the ˈbetter for ˏhim| if ˈshe ˎhadnít.|| ˋYes,| but ˌthen he ˈwouldnít have ˋpaid for his ˌcrime.|| ˎAnyhow, ↘Iíd have en↘joyed the ↘film ˈmuch ̬more| if ˈElsa ˎHollywood had ˏbeen in it| inˈstead of ˈLinda ˋSpangle.|| And ˈIíd have enˈjoyed it ˏmore| if we ˈhadnít ˈgone at ˎall.|| And ˈIíd have enˈjoyed it ˏmore| if you ↘hadnít ↘been ↘so ˎrude| to ˈthat ˈwoman in ˎfront.|| Well, ˈI ˎshouldnít have been rude to ˏher| if she had ˈstopped ˎchattering| when I ˎasked her.|| I ˎwish youíd beˌhave ˏbetter| in ˎpublic ˏplaces.|| ˈˈI beˈhave ˎbetter!|| I ˈlike ˋthat!|| Why, if ˈthat ˎwoman ˏhadÖ|| But ˎlook,| ˈisnít it a ↗number ↗12 ↗bus ↗just ̬going?|| ˈYes, it ˎis,| and weíve ˎmissed it| after ˎall.|| We should have ˎseen that ˌbus, ˏHarry,| if you ↘hadnít ↘been so ↘busy ˎquarreˏlling.|| Oh, ˎreally, ˏNora,| I ˈthink it would have ˈbeen ↑much ˎbetter| if ↘I had ↘stayed at ˏhome to˙night| and let ˈyou ˈgo to the ↑cinema aˎlone.||


3. Read the text below with your own intonation using the Sliding, Scandent and Level Scales where possible. Comment on the emotions you have tried to convey using these scales.

(Avenues, p. 188)

Iím an opera singer who sings mezzo-soprano roles. That means I play a variety of young princes, kitchen boys, peasant girls and queens. Some composers, such as Puccini, donít give mezzo-sopranos any parts, but I have had a lot of work in operas by Verdi and by contemporary composers. As I cannot afford to turn down good roles, sometimes I have a complicated timetable. Last year I had to commute daily between London, where I was performing in the evening, and Geneva, where I was rehearsing during the day. Itís surprising what you can get used to do! Rehearsing takes up most of an opera singerís time. By the end of this year I will have given 63 performances and rehearsed almost every day of the year. I always look forward to performing in front of an audience. Often when I get home after a performance I canít sleep because the music is still in my head.


4. Listen to the conversation about Liza Minnelli. Lay stress-tone marks, practice reading it and learn it by heart. Find reduction and assimilation in the dialogue and analyze all the cases in writing.

(Headway Adv. P. 136)

A Liza Minnelli is just fantastic! Her concert was amazing!

B It was, wasnít it? And she puts so much energy into her songs, doesnít she?

A Yes, she does. Who wrote that song about marriage, and the way it changes the world?

B She did. Itís one of the few songs she ever wrote, actually.

A So she can write as well as sing, can she? What a talent! Did you like her costumes?

B Yes, I did. I thought they were fantastic. Iíve seen most of then before.

A Have you? I havenít. Sheís playing again tomorrow, isnít she?

B Yes, I think so. Letís go again, shall we?

A All right. Sheís one of the all time greats, Liza Minnelli is.


5. Listen to the following text. Practice reading it imitating its intonation and learn it by heart. Transcribe the sentences in bold. Find cases of reduction and assimilation in them and analyze them. Comment on the use of Descending Stepping Scale.


Theatres, Music-Halls and Cinema


ˎTheaˏtres| are ˈvery much the ˈsame in ˎLondon| as ˈanywhere ˎelse;| the ˈchief ˏtheatres,| ˏmusic-halls| and ˏcinemas| are in the ˈWest ˎEnd.|| If you are ˈstaying in ˏLondon| for a ˈfew ˏdays,| youíll have ˈno difficulty whatˎever| in finding ˈsomewhere to ˈspend an enˈjoyable ˎevening.|| Youíll ˈfind ˏopera,| ˏballet,| ˏcomedy,| ˏdrama,| reˏvue,| ˈmusical ˏcomedy| and vaˎriety.|| ˏFilms| are ˈshown in the ˏcinemas| during the ˈgreater ˈpart of the ˎday.|| The ˈbest ˈseats at ˏtheatres| are ˈthose in the ˏstalls,| the ˏcircle| and the ˎupper ˌcircle.|| ˈThen ˈcomes the ˏpit,| and ˈlast of ˏall| the ˎgallery| where the ˈseats are ˎcheapest.|| ˈBoxes, of ˏcourse,| are the ˈmost exˎpensive.|| ˈMost ˈtheatres and ˏmusic-halls| have ˈgood ˏorchestras| with ˈpopular conˎductors.|| You ˈought to make a ˎpoint| of ˈgoing to the ˎopeˏra| at ˈleast ˎonce| during the ˈseason, if you ˎcan.|| ˏThere| you can ˈget the ˈbest of ˎeverything| Ė an ˈexcellent ˏorchestra,| ˈfamous conˏductors,| ˈcelebrated ˏsingers| and a ˈwell-ˈdressed ˎaudience.|| But, of ˏcourse,| if youíre ˈnot ˈfond of ˈmusic and ˏsinging,| ˈopera ˈwonít ˎinterest you.||


Read the following dialogues, put stress-tone marks on them using different types of scales and practice reading them.

1. - Iíd like to book two seats for tomorrow. - Would you like something in the front stalls? - I suppose thereís nothing further back, is there? - Not unless you go to a matinee.   2. - Can I still get tickets for tonightís show? - The front row of the dress circle is fairly free. - Are there any boxes? - No, Iím afraid thatís all there is.
3. - Are there any seats left for Saturday night? - A11 and B14 are all thatís left. - Havenít you got anything cheaper? - Only if somebody cancels. 4. - Is it possible to get tickets for tonight? - You can sit wherever you like in the first row. - Isnít there anything a little less dear? - No, Iím afraid youíve left it rather late.


7. Listen to the abstract from ďJulius CaesarĒ by William Shakespeare, lay stress-tone marks in the last 10 lines. Pay attention to the sentences in bold; comment on the additional shades of meaning of these sentences. Practice reading the poem, learn it by heart and act it out in front of your group.

Antonyís Address to Romans

ďJulius CaesarĒ

(by W. Shakespeare)


ˏFriends,| ˏRomans,| ˎcountrymen,| ˎlend me your ˎears;|

ˈI ˈcome to ˎbury ˌCaesar,| ˈnot to ͵praise him.||

The ˈevil that ˈmen ˎdo| ˈlives ˎafter ˌthem,|

The ˌgood is ˈoft inˋterred with their ˎbones;|

ˈSo ˈlet it ˈbe with ˎCaesar.|| The ˈnoble ˏBrutus|

Hath ˏtold you| ˎCaeˏsar| was amˋbitious.||

̅If it were ˎso,| it was a ˎgrievous ˌfault,|

And ↘grievously hath ↘Caesar ˋansweríd it|

↗Here ↗under ↗leave of ˏBrutus ˈand the ˏrest,|

For ˏBrutus| ˏis an ˋhonourable ̬man;|

So are they ˎall,| ˎall| ˈhonourable ˎmen,|

ˈCome I to ˎspeak| in ˈCaesarís ˎfuneral.||

He ˈwas my ˎfriend,| ˏfaithful| and ˎjust to| ˎme;|

But ˈBrutus →says| he ˈwas amˋbitious;|

And ˏBrutus| is an ˎhonourable ˌman.||

He hath brought ˈmany ˋcaptives ˌhome to ˌRome,|

Whose →ransoms| did the ˈgeneral ˎcoffers ˌfill;|

Did ˈthis in ˏCaesar| ˈseem amˏbitious?|

When that the ↘poor had ̬cried,| ↘Caesar hath ˋwept;|

Amˏbition| should be ˈmade of ˋsterner stuff;|

ˏYet| ˏBrutus| ˏsays| he ˈwas amˎbitious;|

And ˏBrutus| ˏis an ˙honourable ˎman.||

You ↘all did ˎsee| that on the ˈLuperˏcal|

I ˈthrice preˈsented him a ˈkingly →crown,|

Which ↘he did ↘thrice reˋfuse:| was ˈthis amˏbition?||

Yet Brutus says he was ambitious;

And, sure, he is an honourable man.

I speak not to disprove what Brutus spoke,

But here I am to speak what I do know.

You all did love him once, not without cause:

What cause withholds you then to morn for him?

Oh judgment! Thou art fled to brutish beasts,

And men have lost their reason. Bear with me;

My heart is in the coffin there with Caesar.

And I must pause till it comes back to me.


8. Listen to the following statements about celebrities. Choose one that you like most, write down a few ideas about the statement that youíve chosen (up to 10 sentences) and tell them to your group-mates using the Sliding, Scandent and Level Scales.

1. A celebrity is a person who works hard all his life to become well known, and then wears dark glasses to avoid being recognized.

2. I donít want to achieve immortality through my work. I want to achieve it through not dying.

3. There is only one thing worse than being talked about, and that is not being talked about.

4. What goes up, must come down.

5. Winning isnít everything, but it sure as hell beats losing.

6. Whenever a friend succeeds, a little something in me dies.

7. Genius is one per cent inspiration, ninety-nine per cent perspiration.

8. If at first you donít succeed, try, try again.

9. Nothing succeeds like success.

10. Let me tell you about the rich. They are different from you and me.


Unit 3. Medicine



Date: 2015-02-28; view: 1906

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