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듣기 연습 많이 하셨는지요?
듣기 연습과 함께 말하기/박자 연습도 함께 하시면 좋습니다.
말하기 연습 하는 법 : 우리 자료 한글 부분만을 따로 받아놓고 보면서
그걸 영어로 말하는 연습을 하는 거지요.
박자 연습은 회화 자료를 큰 소리로 읽으면 되는데,
단 강세/약세를 좀 과장하며 읽으시면 됩니다.
18일에는 영어 박자에 관한 영어원문을 좀 읽어보겠습니다.
여기 원문과 번역문을 올립니다.
아래한글 파일로 올립니다. 편하게 그걸로 보세요.
Things to teach about sentence stress and rhythm …and how to do it
Written by Alex Case for TEFL.net
1. The important words for meaning are stressed
An easy way of demonstrating this is to give the students just the stressed words from a sentence and then just the unstressed words, and then ask them to see which version is easier to more or less understand the meaning of. For example, for the sentence “Students who don’t do their homework don’t pass tests” you get “Students don’t homework don’t tests” and “who do their pass”- neither of them is grammatically correct or unambiguous in meaning, but the one with just the unstressed words could mean anything. Students can then analyse other sentences for which words are most important to understand the meaning and listen to check whether those are stressed or not. This is especially important for listening comprehension, where listening for the stressed words (which is easier than listening for everything or the unstressed words) can help them pick out the important information from a recording without having to understand every word.
2. Content words and grammar words
Another way of students doing the analysis above is to analyse the parts of speech and mark the stress on the nouns, main verbs, adjectives etc (content words) and not on the prepositions, auxiliary verbs etc (grammar words).
They can then listen to the real sentence and check the sentence stress.
3. Contradictions
A very clear and even entertaining part of sentence stress is when it is used for saying the opposite of what you just heard, e.g. “I heard you have 10 brothers”. “10 brothers? Are you crazy? I have ten COUSINS!” There are many fun practice activities for this, e.g. giving one student the false sentence and the other the true one. The person with the incorrect sentence has to listen carefully to the stress in the correction in order to work out which bit they should change to guess the right answer, e.g. “I heard that the Eiffel Tower is three hundred and thirty three feet tall.” “It isn’t 333 FEET tall…” “I guess the Eiffel Tower is FOUR hundred and thirty three feet tall then” “Listen carefully. It isn’t 433 FEET tall.” “Ah. Is it 333 METERS tall?” “Yes, that’s right”
4. New information
A more general way of looking at the rules of sentence stress that includes contradictions is that the main stressed word or words in a sentence are often the information that is new, e.g. if I say “I heard that Walter went to PARIS with Jane” I think that the person listening didn’t know or would be more interested in the place, whereas if I say “I heard that Walter went to Paris with JANE” the new information is the lack of the presence of his wife. The natural gossipy reaction is to say “Paris?? Really? I thought he was just going camping in Bognor. How come he never spent that much money when he was going out with me?” or “Jane?? Why would he go with her? She isn’t even pretty!”, and students can be asked to listen to their partner’s sentences (which have the stresses marked on them) and to try to respond with suitable similar sentences.
5. Shifting stress
A similar way of analysing sentence stress is to get students to analyse how the stress moving in the sentence changes the meaning, e.g. the difference between “I’m terribly sorry” and “I’m TERribly sorry”.
6. Sentence stress and contractions
One aspect of the point described above that is well worth covering in most classes is the difference between “I’m a boy” and “I AM a boy” – a very substantial difference in this case! Having this pointed out can help make students see that using contractions in speech is not an added extra or even, as some traditional teachers would have it, a sign of sloppy speech, but something that has a real communicative purpose. The (oversimplified) rule I usually give them is that they should use contractions when speaking, unless they want to stress their meaning in sentences such as “I DON’T love him” (because you are being teased).
7. Weak forms
The opposite way of approaching the same analysis is to teach students the two different (stressed and unstressed) pronunciations of words like “for”, “at” and “can”, so that they know when they sound like “fer”, “ut” and “cn” the stress must be on other words in the sentence. This can also help them hear the difference between the words that are theoretically homophones but are usually used in the unstressed form in the one case and don’t have an unstressed form in the other, such as “to”/ “too” and “can (try)”/ “can’t (try)”.
8. Schwa never stressed
A more general way of analysing the language as described above is to tell students that the schwa sound (the last sound in “computer”) is never stressed, and so if they hear a one syllable word with the schwa sound in it (as in the unstressed forms of “from” or “to”), they know that it isn’t where the beat falls in the sentence.
9. Regular beat
Although there are seemingly endless debates on whether English really has an equal amount of time between stressed syllables, for classroom purposes we can say for sure that getting students to practice saying an English sentence as they tap a pencil on the table in time with the stressed syllables is both a kinaesthetic way to practice something that more analytical students often find easier and something that works for most people. The same thing can be illustrated by students chopping down on one open palm with other, by the teacher “conducting” the students when they do activities like Shadow Reading, etc. By no means all natural conversations are in reality so regular in beat, but it should be possible to make up one that is in order to illustrate the point, or nursery rhymes and other poems and songs can be used.
10. Stress timed and syllable timed
The same debates as mentioned above exists on whether languages really can be divided into stress and syllable timed ones, but again we can at least say without any doubt that for teaching purposes this is a useful concept. For example, Brazilian Portuguese is traditionally put into the syllable timed category of ratatat ratatat ratatat languages along with Italian, whereas in Portugal the rhythm is more like the daDA dadiDAdaDAdadidadiDA rap-like rhythm of English, and this is reflected in the greater problems Brazilian students have with listening comprehension and pronunciation in English. This is also one of the reasons some people find Indian English especially difficult to understand, as unlike most varieties of English it can be classified as syllable timed. A fun activity for students, especially ones dealing with particular nationalities on the phone, can be to read descriptions of languages that they don’t know and listen to short extracts of students speaking their own language or English with a lot of L1 interference and identify each one.
11. Squashing sounds up
A factor associated with the idea of stress timed languages is that between the regular beat of stressed syllables in the sentence there might sometimes be just one syllable but sometimes three or more. If the rhythm is indeed something you can follow on a metronome, those greater number of unstressed syllables obviously need to be squashed up to take the same amount of time as when there is just one syllable (or even just a pause) between stressed syllables. This task can be broken up to make it easier by practicing the squashed up unstressed syllables said as quickly as possible first, e.g. “yer” and “onterther” in “Wouldn’t you go onto the beach?”, and then adding the stressed sounds in between.
12. Intonation and sentence stress
Although the simplest and most used way of showing intonation of sentences such as the difference between Y/N questions and Wh- questions is to draw a squiggly line like a wave over the top of the whole sentence, in fact the intonation changes are focused around the main stress in the sentence. This can be clearly illustrated when showing our shock and incredulity when pronouncing “He shot a SPARROW with a shotgun??” Other feelings students can express and have fun with in the same way include irritation, impatience, delight and sarcasm.
13. Marking stress
The important things about marking stress are that even sentence stress is concentrated on one syllable rather than a whole word, and so should be drawn over the correct syllable in the stressed word.
14. Stressed equals both louder and longer
This can be introduced when showing that a schwa sound cannot be extended (showing length) or by putting an open hand palm down higher and lower as you speak (showing loudness).
15. Stress and gestures
As well as tapping your finger, pencil or whole hand as suggested above, you can also open your fingers up wide with your palm towards the class (like when you illustrate an explosion or fireworks) to show a main stress and do a smaller version of the same thing (similar to showing a hand puppet opening and closing its mouth) to show the words with less stresses.
1. 의미_상 중요한 단어에는 강세가 들어갑니다.
Students who don’t do their homework don’t pass tests. 예를 들어 이런 문장은
(숙제를 해오지 않는 학생은 시험에 합격하지 못 한다.)
Students who don’t do their homework don’t pass tests. 이렇게 강세를 넣습니다.
강세 단어 = Students / don’t / homework / don’t / tests ⇒ 말이 어렴풋 되는데
약세 단어 = who / do / their / pass ⇒ 전혀 되지 않습니다.
다른 문장도 우리 스스로 분석할 수 있습니다. 어떤 단어가 의미 이해에 가장 중요한지.
이것은 듣고 이해하기(LC)에서 특히 중요합니다. 강세가 들어간 단어를 듣고 어떤 것이
중요한 정보인지 골라낼 수가 있으니까요. 모든 단어를 다 듣느라 애쓰지 않아도 됩니다.
2. 내용_어 & 문법_어
위와 같은 분석을 하는 또 다른 방법은 품사를 분석하는 겁니다. 명사·본동사·형용사 등은
내용이 있는 말 =내용어(content words)는 강세를 넣습니다. 반대로 전치사나 조동사 등 내용이 없는 말 =문법어(grammar words)는 강세를 넣지 않습니다.
실제로 녹음을 들으면서 하면 더 효과적이겠지요.
3. 부인(否認) 혹은 반박
남의 말을 즉석에서 아니라고 할 때, 부인(否認)하거나 반박할 때 강세가 들어갑니다.
“I heard you have 10 brothers”.
“사람들이 그러는데 당신 형제가 열 명이라며?”
“10 brothers? Are you crazy? I have ten COUSINS!”
“형제가 열 명? 정신 나갔어? 사촌이 열 명이야.” ⇒ 이런 식이죠.
교실에서 학생들에게 이 연습을 시켜보면 재미있습니다. 한 학생에겐 올바른 정보를 주고 다른 학생에겐 잘못된 정보를 줍니다. 잘못된 정보를 가진 학생은 그걸 수정해야 되는데, 어떤 정보를 고쳐야 될지 상대의 말 특히 강세에 귀를 기울여야 합니다.
“I heard that the Eiffel Tower is three hundred and thirty three feet tall.”
“내가 들은 것은 에펠 탑 높이가 333 피트라는 거야.”
“It isn’t 333 FEET tall…”
“그 높이는 333 피트가 아냐.”
“I guess the Eiffel Tower is FOUR hundred and thirty three feet tall then”
“흠 그러면 에펠 탑 높이는 4백33피트로군.”
“Listen carefully. It isn’t 433 FEET tall.”
“잘 들어봐, 그 높이는 433 피트가 아니야.”
“Ah. Is it 333 METERS tall?”
“아하 그럼 333 미터라는 거니?”
“Yes, that’s right”
“그래, 바로 맞혔어.”
4. 새로운 정보
“I heard that Walter went to PARIS with Jane.”
“듣자하니 월터가 제인이랑 파리에 갔다더군” ⇒ 이렇게 말하는 것과
“I heard that Walter went to Paris with JANE.”
“듣자하니 월터가 제인이랑 파리에 갔다더군” ⇒ 이렇게 말하는 것은
과연 어떻게 다를까요?
그리고 위 얘기 듣는 사람의 반응은 또 어떻게 달라질까요?
“Paris?? Really? I thought he was just going camping in Bognor.
How come he never spent that much money when he was going out with me?”
“정말 파리에 갔어? 난 그냥 보고너(지명) 쯤에서 캠핑하는 줄 알았는데.
나랑 같이 갔을 때는 왜 그렇게 돈을 안 썼지?”
“Jane?? Why would he go with her? She isn’t even pretty!”
“제인? 아니 왜 걔랑 같이 가? 예쁘지도 않잖아.”
어떤 것이 어떤 말에 대한 반응인지는 다 아시겠죠? 교실에서 이런 ‘강세의 변화와 그 반응’ 연습을 해볼 수도 있습니다.
5-6. 강세의 변화, 강세와 반박
“I’m terribly sorry.” “I’m TERribly sorry.”
‘대단히 죄송합니다.’ 이런 말도 강세가 바뀌면 의미가 달라집니다.
“I’m a boy.” “I AM a boy.”
7. 약세
for [fɔːr, 약하게 fəːr] [f포 / f퍼]
at [æt, 약하게 ət] [앳 / 엇]
can [kæn, 약하게 kən][캔 / 컨·큰]
to [tuː, tə, tu][투: / 터·투]
동음_어의 강세 차이 : “to”/ “too” “can (try)”/ “can’t (try)
8. 쉬와(schwa)는 무_강세
쉬와 : “computer”에서 마지막 나는 소리, [어]. 여기엔 강세가 오지 않는다.
schwa [ʃwɑː] n.
〖음성〗 슈와(악센트 없는 애매한 모음; about의 a [ə], circus의 u [ə] 따위).
♣a hooked ∼ 미국식 발음의 모음 [ɚ]의 명칭(이 사전의 [ər]).
9. 정규적인 강세
방법 : 연필로 책상 톡톡 두드리기,
박수치기 (학생들은 섀도_리딩 shadow reading, 선생님은 ‘지휘’)
소재 :회화 문장, 너서리 라임 nursery rhymes, 시(詩), 노래
10. 강세 박자와 음절 박자
강세박자 언어 vs 음절박자 언어 :
브라질의 포르투갈_어 vs 포르투갈의 포르투갈_어
⇒ 브라질 학생들의 영어 청취·이해력(LC)과 발음 문제 야기
인도 영어가 듣기 어려운 이유 = 음절박자 발음하기 때문.
L1 interference = 모국어의 훼방·간섭
11. 소리의 ‘스쿼시’ 현상
강세 음절 사이에는 1~3개 이상의 약세 음절이 있을 수 있다.
이런 것들은 마치 1음절(혹은 포즈)처럼 축약(스쿼스) 되어 빨리 말해야 한다.
“Wouldn’t you go onto the beach?”
이럴 때 약세 음절은 “yer” “onterther” 이런 식으로 축약된다.
12. 억양과 강세
Y/N 의문문과 Wh- 의문문에 붙이는 화살표 억양도 사실은 강세가 중요하다.
“He shot a SPARROW with a shotgun?”
‘강세’를 통해 감정을 표현할 수 있다 : 충격, 불신, 분노, 초초, 기쁨 등
13. 단어 아닌 음절에 강세 표시
한 단어 전체가 아닌, 그 단어 속의 ‘음절’에 강세 표시 하는 것이 좋다.
14. 강세 받는 부분은 크고 길게
첫댓글 감사합니다^^
저도 감사합니다.^^