Stress and Rhythm - DLFeSCHOOL
Stress and Rhythm - DLFeSCHOOL
Stress and Rhythm - DLFeSCHOOL
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<strong>Stress</strong> <strong>and</strong> <strong>Rhythm</strong><br />
Donna M. Brinton<br />
Professor of TESOL<br />
Soka University of America
Overview of today’s lecture<br />
Characteristics of stressed syllables<br />
The effect of affixation on lexical stress<br />
Lexical stress in . . .<br />
̶ Compounds<br />
̶ Noun/verb pairs<br />
̶ Phrasal verbs<br />
̶ Numbers<br />
Poetic meter <strong>and</strong> stress-timing<br />
Teaching strategies
<strong>Stress</strong>ed syllables<br />
<strong>Stress</strong>ed syllables are…<br />
̶ Louder: in volume<br />
̶ Longer: in duration<br />
̶ Higher: in pitch<br />
They contain full vowels,<br />
not unstressed vowels.
Louder, longer, higher…<br />
Compare:<br />
about release contain<br />
certain leisure chamber<br />
astronaut sterilize terrify<br />
remember banana religion<br />
underst<strong>and</strong> engineer introduce<br />
revitalize gratuitous particular<br />
salutation absolutely locomotive
Lexical stress<br />
There are three levels of lexical stress:<br />
LEXICAL<br />
STRESS<br />
primary secondary unstressed
Levels of lexical stress<br />
Lightly stressed (secondary stress)<br />
Unstressed (weak or no stress)<br />
Strongly stressed (primary stress)<br />
<br />
Japanese<br />
/dæpniyz /
<strong>Stress</strong> <strong>and</strong> unstress<br />
Polysyllabic words alternate stressed<br />
<strong>and</strong> unstressed syllables.<br />
̶ There is one primary stressed syllable.<br />
̶ There may also be syllables containing<br />
secondary stress.<br />
Primary <strong>and</strong> secondary stressed<br />
syllables contain full vowels.<br />
All remaining syllables are unstressed<br />
<strong>and</strong> contain unstressed vowels.
Marking stress<br />
IPA marks primary versus secondary stress by<br />
means of diacritics:<br />
̶ A superscript / / indicates primary stress.<br />
̶ A subscript / / indicates secondary stress.<br />
/fowræfk/<br />
/fowræfk/<br />
Alternately, acute / / <strong>and</strong> grave / / accent<br />
marks may be placed over the respective<br />
primary <strong>and</strong> secondary stressed vowels.
<strong>Stress</strong> <strong>and</strong> meaning<br />
<strong>Stress</strong> placement can affect meaning:<br />
DESert a geographical<br />
area with very<br />
little rain<br />
INvalid<br />
a person who is ill<br />
or disabled<br />
MISery a state of extreme<br />
unhappiness<br />
OBject a thing that can be<br />
seen <strong>and</strong> touched<br />
deSSERT a sweet dish<br />
served at the<br />
end of a meal<br />
inVALlid no longer<br />
good; out of<br />
date<br />
MiSSOURi state in the<br />
south of the<br />
U.S.<br />
obJECT to express<br />
disapproval
A little desert?
British vs. American<br />
Word stress sometimes differentiates<br />
British from American English:<br />
American British<br />
perfume perfume<br />
capillary capillary<br />
chimpanzee chimpanzee<br />
controversy controversy<br />
laboratory laboratory
Overview of stress placement<br />
The following influence where the<br />
stress falls within a word:<br />
̶ Historical origin of the word (e.g., Anglo<br />
Saxon, Norman French, Classical, etc.)<br />
̶ Affixation (addition of prefixes/suffixes)<br />
̶ Compounding (new word formation)<br />
̶ Grammatical category (e.g., noun, verb,<br />
adjective, etc.)
A word’s origins<br />
Many loan words in English retain the<br />
stress of the language from which<br />
they were borrowed, e.g.,<br />
̶ French: masseuse, bizarre, baroque<br />
̶ Persian: bazaar<br />
̶ Arabic: giraffe<br />
These words count as exceptions to<br />
the general stress rules.<br />
Stockwell & Minkova (2001)
The Anglo Saxon “root” rule<br />
Words of Anglo Saxon origin are stressed on<br />
the first syllable of the root:<br />
never meadow Monday body<br />
father become summer unpack<br />
These tend to be common words (e.g., parts<br />
of the body, the calendar, animals, domestic<br />
life, basic verbs <strong>and</strong> adjectives, the<br />
l<strong>and</strong>scape, war <strong>and</strong> peace).
Overview: Suffixes <strong>and</strong> stress<br />
The addition of a suffix in English causes<br />
one of three things to occur:<br />
1) <strong>Stress</strong> neutral suffixes: No change in stress<br />
forgive forgiven<br />
regret regretful<br />
2) <strong>Stress</strong> dem<strong>and</strong>ing suffixes: <strong>Stress</strong> falls on<br />
the suffix itself<br />
absent absentee<br />
auction auctioneer
Overview, cont’d.<br />
3) <strong>Stress</strong> changing suffixes: <strong>Stress</strong> shifts to the<br />
penultimate (next to the last) syllable<br />
athlete athletic<br />
telephone telephonic<br />
athlete + -ic = athletic
<strong>Stress</strong> neutral suffixes<br />
These do not change a word’s stress:<br />
̶ Early English suffixes: -dom, -en, -er, -<br />
ess, -ful, -hood, -ish, -less, -ly, -man,<br />
-ness, -some, -ward(s), -wise<br />
king kingdom; child childhood<br />
̶ Non-native suffixes: -ist, -ize (with<br />
minor exceptions)<br />
active activist; union unionize<br />
Stockwell & Minkova (2001)
<strong>Stress</strong> dem<strong>and</strong>ing suffixes<br />
These dem<strong>and</strong> or “steal” the stress:<br />
̶ -aire, -ee, -eer, -elle, -esce,<br />
-ese, -esque, -ette<br />
acquire acquiesce<br />
China Chinese<br />
Stockwell & Minkova (2001)
“<strong>Stress</strong> changing” suffixes<br />
These shift the stress to the left of the suffix:<br />
̶ -ic (also: ical, -ics)<br />
• gene genetic<br />
• microscope microscopic<br />
Exceptions: arithmetic, heretic, lunatic, politic,<br />
rhetoric, arsenic, Catholic, choleric, Arabic<br />
̶ -id, -ity<br />
• stupid stupidity<br />
• masculine masculinity<br />
Stockwell & Minkova (2001)
Compounding<br />
Compounding is a productive strategy in<br />
English for creating new words.<br />
Compounds function somewhat like<br />
idioms, assuming a special meaning:<br />
greenhouse whiteboard – a special surface structure teachers use used to to write grow onplants<br />
They also assume a unique stress<br />
pattern, with stress falling on the first<br />
element of the compound:<br />
greenhouse whiteboard<br />
Jackson & Zé Amvela (2007)
<strong>Stress</strong> patterns with compounds<br />
Noun + noun<br />
bird cage<br />
wagon train<br />
Noun + verb<br />
baby sit<br />
web surf<br />
knee jerk<br />
Adjective + noun<br />
green card<br />
hot plate<br />
Noun + adjective<br />
air sick<br />
sea sick<br />
Verb + preposition<br />
splashdown<br />
countdown<br />
touchdown<br />
Adjective + noun + noun<br />
back seat driver<br />
waste paper basket<br />
hot dog bun<br />
blackbird nest<br />
Jackson & Zé Amvela (2007)
Compounds vs. phrasal units<br />
Compounds <strong>and</strong> phrasal units are<br />
differentiated by their stress patterns.<br />
The stress difference also signals a<br />
difference in meaning:<br />
̶ Adjective + noun compound<br />
Don’t forget to turn off the hot plate.<br />
[=small electric burner]<br />
̶ Adjective modifying a noun<br />
Careful, that’s a hot plate.<br />
[=plate that is hot]
Juncture in compounds<br />
Compounds also lack the open juncture<br />
that signifies word boundaries:<br />
̶ greenhouse vs. green house<br />
̶ White House vs. white house<br />
̶ shortstop vs. short stop<br />
̶ head doctor vs. head doctor<br />
̶ freeway vs. free way<br />
̶ bluebook vs. blue book
Hip doctor<br />
hip – 1960’s slang for fashionable; trendy<br />
groovy – 1960’s slang for terrific; excellent
<strong>Stress</strong> <strong>and</strong> grammar<br />
In certain pairings (~130 of them), stress<br />
marks grammatical category:<br />
Verb Noun Adjective<br />
conduct conduct<br />
survey survey<br />
present present present<br />
perfect perfect
<strong>Stress</strong> <strong>and</strong> grammar, cont’d.<br />
Compare:<br />
The teacher presented the present<br />
perfect tense.<br />
It’s a rebel’s responsibility to rebel<br />
against authority.<br />
If you don’t conduct yourself<br />
appropriately, I’ll give you a failing<br />
grade for conduct.
Phrasal verbs<br />
Like compounds, phrasal verbs function<br />
much like idioms, acquiring a special<br />
meaning of their own.<br />
Phrasal verbs consist of verb + particle<br />
element(s). The particle receives stress.<br />
̶ look out (= be careful; pay attention)<br />
̶ turn on (= become excited or aroused)<br />
̶ take off (= leave; depart)<br />
̶ look down on (= lack respect for;<br />
disregard)
Look out!<br />
LOOKout =<br />
a scenic<br />
view<br />
look OUT =<br />
caution; pay<br />
attention
Careful… vicious dog!<br />
turn ON – sexually excite<br />
TURN on – attack<br />
doberman<br />
pinscher
<strong>Stress</strong> <strong>and</strong> phrasal verb<br />
<strong>Stress</strong> in phrasal verbs functions one of<br />
three ways:<br />
̶ <strong>Stress</strong>ed verb + unstressed particle<br />
He doesn’t approve of her friends.<br />
̶ <strong>Stress</strong>ed verb + stressed particle<br />
I can’t figure out this problem.<br />
̶ <strong>Stress</strong>ed verb + stressed particle +<br />
unstressed particle<br />
He got away with murder.
Cardinals <strong>and</strong> ordinals<br />
Cardinal <strong>and</strong> ordinal numbers are typically<br />
stressed on the first syllable:<br />
twenty, twentieth<br />
However, when differentiating –teen<br />
numbers from their double-digit<br />
counterparts, speakers typically place the<br />
stress on the second syllable:<br />
fiftieth vs. fifteenth
Hyphenated numbers<br />
Hyphenated numbers function as<br />
compounds; they can be stressed on<br />
either element.<br />
<strong>Stress</strong> serves a disambiguating function.<br />
Compare:<br />
̶ You got seventy-five on your quiz, not<br />
seventy-six.<br />
̶ You got seventy-six on your quiz, not sixtysix.
Phrasal stress<br />
The same combination of stress <strong>and</strong><br />
unstress that characterizes English words<br />
also characterizes phrase-length<br />
utterances:<br />
ecoNOmics in the COMics…<br />
<br />
<br />
natioNALity it’s a CHICKadee…<br />
electrifiCAtion<br />
she went to the<br />
STAtion…
Da da DA da da DA da da DA<br />
The alternation of<br />
stressed/unstressed<br />
syllables characterizes<br />
English stress-timed<br />
rhythm.<br />
Poetry makes artistic<br />
use of stress-timing by<br />
employing regular<br />
rhythmic patterns.<br />
William Shakespeare
Poetic meter<br />
· '<br />
· · '<br />
' ·<br />
' · ·<br />
Iambic - an unstressed syllable followed by<br />
a stressed syllable<br />
Anapestic - two unstressed syllables<br />
followed by a stressed syllable<br />
Trochaic - a stressed syllable followed by<br />
an unstressed syllable<br />
Dactylic - a stressed syllable followed by<br />
two unstressed syllables
Poetic meter, cont’d.<br />
Double, double toil <strong>and</strong> trouble;<br />
Fire burn, <strong>and</strong> caldron bubble.<br />
Fillet of a fenny snake,<br />
In the caldron boil <strong>and</strong> bake;<br />
Eye of newt, <strong>and</strong> toe of frog,<br />
Wool of bat, <strong>and</strong> tongue of dog,<br />
Adder's fork, <strong>and</strong> blind-worm's<br />
sting,<br />
Lizard's leg, <strong>and</strong> owlet's wing,—<br />
For a charm of powerful<br />
trouble,<br />
Like a hell-broth boil <strong>and</strong><br />
bubble.<br />
trochaic<br />
' · ' · ' · ' ·
<strong>Stress</strong> <strong>and</strong> meaning<br />
Try reading the following three phrases:<br />
1. /In'Es´ns/<br />
2. /'In´s´ns/<br />
3. /In´'sEns/<br />
Match the letters with the numbers:<br />
a. in essence<br />
b. in a sense<br />
c. innocence<br />
#1<br />
#3<br />
#2
Comparative stress patterns<br />
<strong>Stress</strong> in English is more pronounced than<br />
in other languages. Compare:<br />
English French<br />
orga ni ZA tion or ga ni sa TION<br />
e co NO mic<br />
e co no MIQUE<br />
ge O gra phy ge o gra PHIE<br />
de mo CRA tic<br />
de mo cra TIQUE
Metronome drills<br />
»<strong>Stress</strong>es in »English »tend to oc»cur at<br />
»regular »intervals of »time. (») It is<br />
»perfectly »possible to »tap on the »stresses<br />
in »time with a »metronome. (»)<br />
The »rhythm can »even be »said<br />
to de»termine the »length of<br />
the »pause between »phrases.<br />
(») An »extra »tap can be »put<br />
in the »silence, (») as »shown<br />
by the »marks with»in the pa»rentheses. (»)<br />
Prator (1951)
Teaching Strategies:<br />
Lexical <strong>Stress</strong>
Options for stress practice<br />
How many syllables?<br />
recalcification<br />
Same or different?<br />
elephant – canary<br />
Odd man out<br />
six!<br />
different!<br />
Patricia – Regina – Jennifer – Alicia<br />
Circle the stressed syllable<br />
Georgia – Massachusetts – Nevada – Iowa
How many syllables?<br />
1. ab<strong>and</strong>on 6. preference 11. intelligible<br />
2. offered 7. superstitious 12. individual<br />
3. distribute 8. responsibility 13. interdisciplinary<br />
4. protect 9. refrigerator 14. multiplication<br />
5. television 10. characterize 15. misunderst<strong>and</strong>
How many syllables, cont’d.<br />
1. ab<strong>and</strong>on<br />
(3)<br />
2. offered<br />
(2)<br />
3. distribute<br />
(3)<br />
4. protect<br />
(2)<br />
5. television<br />
(4)<br />
6. democrat<br />
(3)<br />
7. superstitious<br />
(4)<br />
8. responsibility<br />
(6)<br />
9. refrigerator<br />
(5)<br />
10.characterize<br />
(4)<br />
11.intelligible<br />
(5)<br />
12.individualism<br />
(7)<br />
13.interdisciplinary<br />
(7)<br />
14.multiplication<br />
(5)<br />
15.misunderst<strong>and</strong>ing<br />
(5)
More stress practice: Analysis<br />
Task: Match the patterns in column 1 with the<br />
words in column 2.<br />
Column 1<br />
1. ta-ta-TI-ta<br />
2. ta-TI-ta-ta<br />
3. TI-ta-ta-ta<br />
4. TI-ta-ta<br />
5. ta-ta-TI-ta-ta<br />
6. ta-TI-ta-ta-ta<br />
a. reality<br />
Column 2<br />
b. mysteriously<br />
c. stimulus<br />
d. electricity<br />
e. arbitration<br />
f. permanently
My uncle has a hot dog…<br />
hot DOG?<br />
HOT dog?
Taboo: Noun compounds<br />
dishwasher<br />
s<strong>and</strong>paper<br />
passport<br />
sunglasses<br />
h<strong>and</strong>bag<br />
drugstore<br />
You can put all your<br />
If wood dirty plates is very <strong>and</strong> rough,<br />
You glasses you need need here it this to <strong>and</strong> cross to<br />
You Some<br />
make they an wear women<br />
international will them<br />
it smooth. clean when carry<br />
almost<br />
automatically.<br />
it’s border. very everything<br />
You can buy bright aspirin<br />
they own outside. around with<br />
<strong>and</strong> toothpaste there.<br />
them in this thing.
I’m going to the drugstore…<br />
A: I’m going to the drugstore. I need to<br />
buy some suntan lotion.<br />
B: I’m going to the drugstore. I need to<br />
buy some suntan lotion <strong>and</strong> some toilet<br />
paper.<br />
C: I’m going to the drugstore. I need to<br />
buy some suntan lotion, some toilet<br />
paper, <strong>and</strong> a notebook. Etc.
Minimal pair practice<br />
It took 15 / 50 men to build the<br />
monument.<br />
She’s not a day over 13 / 30.<br />
If you want me to buy a ticket, I’ll need<br />
you to give me 18 / 80 dollars.<br />
My accountant says my tax bracket is<br />
14 / 40 per cent.<br />
There are 16 / 60 steps to climb before<br />
you reach the top.
Teaching Strategies:<br />
<strong>Rhythm</strong>
Focused listening/reading practice<br />
PATTERN WORDS PHRASES<br />
toNIGHT It’s LIGHT.<br />
reCEIVE Please LEAVE.<br />
ChiNESE Try CHEESE.<br />
volunTEER It’s a DEER.<br />
sevenTEEN She’s the QUEEN.<br />
underSTAND Where’s the BAND?<br />
reACtion Where’s JACKson?<br />
ALASka I’ll ASK her.<br />
Brinton (2008)
Congruent pattern drills<br />
<br />
1. I need a pound of butter.<br />
2. I’d like to buy a sweater.<br />
3. You didn’t close the window.<br />
4. He ought to buy a laptop.<br />
5. She doesn’t speak much English.
More congruent drills: Nursery rhymes<br />
TWINkle, TWINkle LITTle STAR<br />
(Let me help you find your keys.)<br />
(Don’t forget the bread <strong>and</strong> milk.)<br />
(Tell me why you don’t agree.)<br />
HOW I WONder WHAT you ARE.<br />
(Find a space <strong>and</strong> park your car.)<br />
(Thanks a lot for all your help.)<br />
(Don’t forget to leave a tip.)<br />
Grant (2001)
Contrastive stress practice<br />
We’re flying to Milan, not to Rome.<br />
Reno is in Nevada, not California.<br />
Jasper isn’t in Alberta; it’s in Manitoba.<br />
We visited the Canadian side of Niagara<br />
Falls; not the American side.<br />
The capital of El Salvador is San<br />
Salvador, not Managua.<br />
The capital of California is Sacramento,<br />
not San Francisco.
More contrastive stress practice<br />
With a partner, correct the<br />
underlined elements.<br />
Monitor your partner’s use<br />
of focus. Use these<br />
expressions:<br />
Are you sure? I thought…<br />
I’m not sure that’s right…<br />
I don’t think so…<br />
Actually…<br />
I always thought…<br />
I was under the<br />
impression…<br />
I’m almost certain that…<br />
1. Dante wrote Hamlet.<br />
2. Smoking decreases<br />
your risk of heart<br />
disease.<br />
3. The Taj Mahal is in<br />
Thail<strong>and</strong>.<br />
4. Ecology is the study of<br />
personality.<br />
5. Kyoto is the capital of<br />
Japan.<br />
6. Monet was a famous<br />
Dutch painter.<br />
Grant (2001)
Jazz chant: More bad luck<br />
<br />
The bread was stale.<br />
<br />
It was four days old.<br />
<br />
The milk was sour.<br />
<br />
The coffee was cold.<br />
<br />
The butter was rancid.<br />
Graham (1978)<br />
<br />
The steak was tough.<br />
<br />
The service was dreadful.<br />
<br />
The waiter was rough.<br />
<br />
His tip was small.<br />
<br />
I’m sorry I went<br />
<br />
to that place at all.
Humorous poetry<br />
HI. How ARE you today?<br />
by Jeff Moss<br />
I’m FEELing very HORRible<br />
And LOW <strong>and</strong> MEAN <strong>and</strong> MAD<br />
And DREADful <strong>and</strong> dePLORable<br />
And ROTTen, SICK, <strong>and</strong> SAD<br />
And NASty <strong>and</strong> unBEARable<br />
And HATEful, VILE, <strong>and</strong> BLUE<br />
But THANKS a lot for ASKing<br />
And please TELL me HOW are YOU?<br />
Grant (2001)
Children’s rhymes<br />
Three blind mice<br />
Three blind mice<br />
See how they run<br />
See how they run<br />
They all ran after the farmer’s wife<br />
She cut off their tails with a carving knife<br />
Did you ever see such a sight in your life<br />
As three blind mice?
References<br />
Celce-Murcia, M., Brinton, D. M., & Goodwin, J.<br />
M. (In press). Teaching pronunciation (2 nd<br />
ed.). Cambridge: Cambridge University Press.<br />
Graham, C. (1978). Jazz chants. New York:<br />
Oxford University Press.<br />
Grant, L. (2001). Well said: Pronunciation for<br />
clear communication (2 nd ed.). Boston: Heinle<br />
& Heinle.<br />
Jackson, H., & Zé Amvela, E. (2007). Words,<br />
meaning <strong>and</strong> vocabulary: An introduction to<br />
modern English lexicology (2 nd ed.). New<br />
York: Cassell.
References<br />
Prator, C. H. (1951). Manual of American<br />
English pronunciation for adult foreign<br />
students. New York: Holt, Rinehart, &<br />
Winston.<br />
Stockwell, R., & Minkova, D. (2001). English<br />
words: History <strong>and</strong> structure. Cambridge:<br />
Cambridge University Press.