The role of intonation in speech is huge. It organizes the semantic side of speech with the help of logical stress, narration, enumeration, motivation, question, exclamation, pauses, change in the pace of speech. It enhances the lexical meaning of words.
A significant part of the hearing-impaired schoolchildren is characterized by a violation of the intonation side of speech, which is expressed in monotony. However, it should be noted that hearing-impaired children can perceive the intonation of the teacher and imitate it. These possibilities increase significantly when using sound amplifying equipment.
Work on the formation of the intonational side of oral speech is carried out in various directions. This includes work on logical stress. Logical stress, as you know, consists in highlighting the words that are most important in meaning. The task becomes easier if the purpose of the statement is taken into account. Words that are stressed can be distinguished by clapping, stomping, vigorous hand movements, etc. The students, together with the teacher, perform these movements, simultaneously pronouncing syllables, phrases, sentences, highlighting the necessary words with voice and movement. In addition, tasks are provided for highlighting by movement and voice a certain word on the presented tablet or with the requirement to choose the right question for the teacher's statement.
Much attention in the classroom of phonetic rhythm is given to the formation in children of the ability to use narrative, interrogative, exclamatory and imperative intonations. In addition, work is underway to form natural intonation in children, expressing various emotional states: joy, surprise, fear, motivation, etc. (Fig. 85).
One of the simplest means of expressing emotions are interjections in the form of separate vowels or syllables. Their reproduction is accompanied by various arbitrary, often natural movements that people usually use in Life to express joy, fear, surprise, etc. (Fig. 86).
Work on intonation is carried out on the material of words, sentences, small texts and poems. Speaking is accompanied by certain expressive movements: when transmitting, for example, the intonation of a question, an expressive movement is made with the hands (Fig. 87), the index finger, the speaker's face takes on an expression corresponding to the question, the head and torso lean forward slightly. Movements accompany the pronunciation of speech material until the students memorize the necessary intonations, after which they reproduce the vocal material without movements, controlling the features of intonation by ear with the help of sound amplifying equipment.
logical stress
1. Mom is there. 2. Dad is there.
Where mother? Where is Dad?
There mother. There dad.
Where?Where?
There.There.
Who there? Who there?
There mother. There dad.
Who?Who?
Mum.Dad.
Note.
Words with logical stress are in bold.
Children stand in a circle.
1. The text is spoken with movements:
There mom- The right arm is bent at chest level. Throw away with a pointing motion right hand aside with a narrative intonation; there mom.
Where mother?- The arms are bent at chest level, the elbows are slightly raised, the hands are lowered down, and then lifted up through the sides, while stamping the right foot: where? There is an interrogative expression on the face, the intonation of the question in the voice, then this movement passes into another - hands at the same level to the sides: mother.
There mother- The right arm is bent at chest level, throw it to the side with a pointing motion, stomp with the right foot, loudly: there, on the same movement is normal: mother.
Where? - Repeat the exercise described above for the word where(see fig; 87).
There - Repeat the exercise described above for the word there.
Who there? - Perform a movement denoting a question, highlighting the intonation of the question with your voice (see Fig. 87).
Theremother - Bend the right arm at chest level, throw it to the side with a pointing motion: there, then make an affirmative gesture (show your finger from top to bottom), stamp your right foot and loudly: mother.
Who?
Mum- Repeat the affirmative gesture, highlighting the word with your voice.
2. The text “There is dad” is pronounced similarly to the first.
We are in the forest.
Who in the forest?
We in the forest.
Where we?
We in the forest.
In the woods.
Ay! Ay! - Standing in a circle, put the palms of the right, then the left hand to the mouth: Ay! Ay! exclamatory intonation (Fig. 88).
We are in the forest Pointing gesture at all - the bent right hand describes a semicircle from left to right: we, then, bend your arms at chest level, bring your fingers to your mouth, lower them down with a slightly pressing movement: in the forest, narrative intonation.
Who in the forest?- Perform a motion indicating a question.
We inforest- Repeat the movement described above, we highlight the word with a voice and kick the foot on the floor.
Who? - Perform a motion indicating a question.
We - Repeat the movement described above.
Where we?- Perform a motion indicating a question.
We in the forest - A smooth movement on the word we turn into the same movement on the words in the forest, which stands out more in a loud voice and kicking the floor.
Where? - Perform a motion indicating a question.
AT forest - Repeat the movements described above.
1.s__a__s __a__c__a__ 4. Who drove the wasp away?
Won the wasp is flying! We chased off the wasp.
s__y__s__ o__s__a__ 5. Whom did we drive?
Here wasp sat. We drove away wasp.
s__a__s__o__with_y__ 6. What are we done?
We chased away wasp! We chased away wasp.
7. Where did the wasp sit down?
Here wasp sat.
Children stand in a circle. All movements performed smoothly transition from one to another. The word on which the logical stress falls is distinguished by a loud voice and a kick to the floor.
1. Arms bent at chest level. Bring your fingers to your mouth, with a slightly pressing movement, lower your hands down (as in the sound with), then spread them to the sides up (as in the sound a): c__a__, repeat three times.
Bend your right arm at chest level. With a wide gesture (as if pointing at something), stretch your hand up . With the whole body lean forward a little: Wonthe wasp is flying!(Fig. 89).
2. Arms are bent at chest level. Bring your fingers to your mouth (movement to the sound with), smoothly move your hands to the sound y: s__y__, then connect the movements to the sounds with and about: c__o__.
Connect movements to sounds with and a: s__a__. Then bend your right arm at chest level. With a wide gesture, stretch your hand forward down (as if pointing at something). Highlight the word: on which the logical stress falls: Here villageswasp.
3. Movement to sound with connect with movements to vowels a, o, y: s__a__s__o__with_y__ , then point to the children with your right hand: we, lean forward with the whole body to the center of the circle, make a swinging movement with both hands: chased awaywasp.
(who?), with a simultaneous kick, then spread your arms to the sides: chased away the wasp. The pointing movement of the right hand on the children goes into the spread of the hands to the sides: We chased away the wasp.
Perform a motion indicating a question (whom?), with a simultaneous kick to the floor, then spread your arms to the sides: wechased away.
We drove awaywasp - For each word of the answer, make a small wave of the right hand from top to bottom.
6. Right arm bent at chest level. A small wave of the hand: whatwe, then perform a motion indicating a question: done?
Wechased away wasp- Pointing motion directed at children: we. Then, with the whole body, lean forward to the center of the circle, make swinging movements with both hands: chased away wasp.
7. Perform a motion indicating a question where? Spread your arms out to the side: wasp sat. When answering, bend your right arm at chest level. With a wide gesture, pull it forward down, as if pointing to something: Here wasp sat.
Development open class
for vocals on the topic:
« Work on unison
and pure intonation
in a vocal work"
Teacher of additional education Plavskaya A.A.
MBOU DO House of children's creativity
G. New Urengoy
2015-2016
22.01.2016
Purpose of the lesson: Formation of vocal-choral skills and purity
intonation.
Lesson topic: Work on unison and intonation in a vocal piece.
Tasks:
Development of vocal skills, purity of intonation.
Mastering the techniques of ensemble and building in the song.
Work on expressiveness and emotionality in a vocal work. Learning how to work with a microphone.
Methods of organization and implementation of educational and cognitive activities:
Explanatory and illustrative;
Comparison, analysis, generalization;
By the nature of the activity - verbal and practical;
Method of emotional dramaturgy;
According to the purpose and didactic tasks - the formation of skills and
skills, knowledge acquisition.
Applied technologies:
Person-oriented;
Health saving.
Equipment:
Piano, laptop, set of audio equipment for vocalists (radio microphones, amplifier, speakers, mixing console, cords), work desk, music stand or console.
Used in class musical material:
The song "Mom".
The song "Where Dreams May Come"
The song believe in a dream.
Lesson structure:
Organizing time. Setting the purpose and objectives of the lesson.
Vocal and choral exercises, tongue twisters.
Work on mastering intonation and rhythm in the work "Mama".
Work on the expressive and emotional performance of the song "Where Dreams May Come".
Work in a duet with a teacher - "Believe in a dream."
Summing up.
Lesson progress:
Organizing time.
The teacher introduces the student to the topic and objectives of the lesson.
Vocal and choral exercises, tongue twisters.
The teacher demonstrates each exercise (sings and plays the instrument).
The child repeats the exercises after the teacher.
The formation of vowel sounds - the exercise "Yes-de-dee-do-du"
Formation of a high position - "Mi-i-mi-i-ma."
Exercise for practicing octave jumps and mastering the upper register - “I-i-i ..”
An exercise to develop the mobility of the vocal cords.
Chanting of each step during the downward movement of Ch5 into various syllables - "Do-la ...".
The development of diction, a sense of rhythm, attention - "At Yegor and Fedora"
Work on learning the work "Mom".
Analysis of the melodic line and rhythmic pattern:
Sing a part with words with a child;
Work out the purity of unisons;
Work out the rhythm.
Pay attention to the difficulty of playing notes in lower and upper registers and “hit the notes cleanly”.
A certain difficulty is the movement of the melody down the triads and semitone intonations, jumps to B7 in the verse. Therefore, it is necessary to sing these complex passages in different keys. Practice accurate intonation.
MOTHER.
1. There is far, far away in quiet city
In the middle of the earth alone in a dark room
Pray to my God for salvation
Midnight my pilgrimage.
2. She prays for one thing: "God bless"
And wax candles burn in the window all night,
To lose faith and love,
The light was found by my lost soul.
CHORUS:
Mom, mom, you alone will not give and will not stop loving,
In this world and the other, you will always be with me.
I go to you alone, wounded in the heart.
Mom, mom, you are my stone wall - 2 times.
Aaaa........
3. The night is black, the path is unknown, the darkness is bottomless
And dark forces prophesy troubles to me,
But two insomnias keep me in darkness:
Mom's eyes, and even the Virgin
4. They say that I have never been sad
You know, only you are my dear
How many times fate without pity, beaten,
I survived with your prayers.
5. From that, troubles could not break me
What is far, far away in the middle of the earth
Pray to my God for salvation
Midnight my pilgrimage.
CHORUS:
Teacher: Okay, now we'll work with the microphone.
When singing songs into the microphone, it is necessary to show and explain
child all the rules of his work. Work out "close, quiet"
sound and how to play "loud" notes into the microphone.
In the process of working on a new work, it is necessary
pay attention not only to the purity of intonation and rhythm, but also
to work on correct articulation, phrasing, dynamic
shades and breath.
When singing a melody and fixing intonation, achieve
confident and expressive performance.
4. Work on expressive and emotional performance
song "Where Dreams May Come"
Teacher: Sona, now we will repeat the difficult intonation passages in the song. Try to sing all the intervals cleanly, positionally high and on your breath. Remember how the jumps are performed. They need to be thought about ahead of time. There is an unprepared modulation at the end of the song. She also needs to be sung.
Work continues on intonation, diction, phrasing, breathing.
Teacher: Sona, please tell me what does it mean to sing expressively?
Vocalist: It means to sing with soul, with emotions, to convey with facial expressions and movements what you are singing about.
Teacher: And what is the nature of the song "Where Dreams May Come"?
Sona: Thoughtful, calm, philosophical.
Teacher: That's right, let's remember the content of the work.
Text processing.
WHERE DREAMS LEAD.
1. Turn your familiar world
Be honest with yourself for at least an hour
And there, ahead, there are countless stories
I need to understand who you are
Threads of fate intertwined
You asked the sky: "Give me a sign" and the stars converged
Fragments of phrases you remember the past again
Everything will be destroyed, forgotten, but leave love.
CHORUS:
Believe it or not, you can see everything from above.
What dreams are not forgotten and where dreams lead.
2. The days drag on, one by one,
Do you believe that you have enough strength, and asked for a miracle
Music of the stars from completely different worlds
Will fill you up, leaving only love.
CHORUS:
Loss: A-ah-ah...
Believe it or not, that moment will come.
And someone very close will definitely find you.
MODULATION: CHORUS:
Teacher: Sona, now we will try to sing a song
expressive and emotional. Facial expressions should
match the character and mood of the song. Work with
microphone.
We fix emotions and character, movements and facial expressions.
Working with a teacher in a duet - "Believe in a dream."
Teacher: This piece is already in the works. What is the difference between solo singing and duet singing?
Child: When you sing with someone in a duet, you need to listen to each other, merge, sing together, in an “ensemble”. Intone cleanly so that accurate intervals sound.
Teacher: Good. I propose to try to perform the song "Believe in a Dream" in a concert version.
(Song duet)
6. Summing up the lesson.
Self assessment students about the fulfillment of the goal and objectives
lessons. Analysis of the results of the last lesson together with
teacher. Future work prospects.
When we speak, we set ourselves certain tasks: to convince the interlocutor of something, to tell something, to ask about something. In order to better convey your thoughts to the listener, you need to take care of the logical expressiveness of speech.
Intonation has always been recognized essential element oral verbal communication , a means of forming any word and a combination of words in a statement, a means of clarifying its communicative meaning and emotionally expressive shades. The components of intonation are melody, phrasal stress, tempo, timbre and pause, which, interacting with each other, perform in speech various functions, the most important of which are communicative, semantic and emotionally expressive (L.V. Bondarko, 1991; L.R. Zinder, 1979; N.D. Svetozarova, 1982).
Correct use intonation in speech allows not only to accurately convey the meaning of the statement, but also to actively affect the listener emotionally and aesthetically. With the help of intonation, the speaker and the listener single out the statement and its semantic parts in the flow of speech. They oppose the statement according to the goal (question, narration, expression of will), express and perceive the subjective attitude to what was said (Bryzgunova E.A., 1963).
The concept of intonation consists of successive changes in pitch (melody), voice strength (sound intensity), intra-phrase pauses (logical and semantic), tempo (accelerated or slow) in the pronunciation of words and phrases, rhythm (combinations of strong and weak, long and short syllables) , timbre (aesthetic coloring) of sound.
logical expressiveness - essential condition any kind of speech. This includes the following aspects. Melody - alternation of raising and lowering the voice, depending on the meaning of the statement (question, statement, exclamation). Each phrase has its own melodic pattern.
Logical stress - highlighting the main word in the meaning of the phrase. Stands out - it means pronounced with greater strength and duration than the rest of the words in the sentence. The logical center can be any word in the sentence, depending on what the speaker wants to emphasize.
A logical pause is the division of a phrase into semantic segments. Each speech measure (syntagma) is separated from another by stops of different duration and fullness, which in the texts of exercises are indicated by symbols that usually coincide with punctuation marks, namely:
A short pause for air intake - a comma sign< , >;
pause between speech measures - the sign "slash"< / >;
the pause between sentences is longer - the sign "two slashes"< // >;
a pause to indicate semantic and plot pieces - the sign "three slashes"< /// >.
It is important not only to understand the meaning of pauses, but, most importantly, to accustom yourself to making actual stops. The rhythm of speech is determined to a large extent by the rhythm of breathing. Respiratory movements are rhythmic, uniform in nature, with the correct alternation of the phases of the respiratory cycle in duration and depth. At the same time, inhalation is shorter than exhalation, which is important for speech and voice formation and speaking itself. A change in the rhythm of breathing entails a change in the rhythm of speaking. The rhythm of breathing dictates the limit of the possible lengthening of the exhalation, this limit is determined by the individual vital capacity of the lungs.
Intellectual adjustment, the predetermination of the structure of the utterance as a whole usually do not allow the speaker to break with a breath words, phrases connected by a strong semantic-syntactic connection.
Thus, the rhythm of breathing, not by itself, but in interaction with the intellectual factor, determines and regulates speech rhythm. Individual fluctuations in the natural rhythms of breathing in different people determine the variety of rhythms of colloquial speech.
“Letters, syllables and words,” writes K.S. Stanislavsky, are musical notes in speech, from which bars, arias, whole symphonies are created. No wonder good speech called "musical". Calling for compliance tempo in speech, he recommends: “Form whole speech measures from phrases, adjust the rhythmic ratio of whole phrases to each other, love correct and clear accentuations (stresses. - I.P.), typical of experienced feelings.”
Work on intonation is carried out on the material of sounds, words, sentences, short texts, poems.
Povarova I.A.
Stuttering correction in games and trainings
Good diction is the basis for clarity and intelligibility of speech. Clarity and purity of pronunciation depend on the active and correct operation of the articulatory (speech) apparatus, especially on its moving parts - tongue, lips, palate, mandible and throats. To achieve clarity of pronunciation, it is necessary to develop articulation apparatus with the help of special exercises (articulatory gymnastics). These exercises help to create a neuromuscular background for developing precise and coordinated movements necessary for sounding a full-fledged voice, clear and precise diction, prevent pathological development articulation movements, as well as relieve excessive tension of the articulatory and mimic muscles, develop the necessary muscle movements for free possession and control of parts of the articulatory apparatus.
Relying on general principles systems approach in psychology (L.S. Vygotsky, S.Ya. Rubinstein, A.N. Leontiev, A.R. Luria, B.F. Lomov, A.V. Petrovsky, P.Ya. Galperin, V.D. Nebylitsyn , D.B. Elkonin and others) and our own observations, we make an attempt to consider the model of the emergence and development of the phenomenon of fixity from the position of integral interaction mental processes, states, properties and actions in stutterers. The legitimacy of this approach, in particular, is confirmed by the results of a comparative study of adolescents, conducted under our supervision by G.I. Angushev. The study allowed him to conclude that the difference between stutterers and fluent speakers is expressed in the former not in the degree of productivity of this or that activity, but in the specifics of its course. This specificity does not appear in any one separate function, but in the totality of mental processes.
Massage is performed to relieve tension and stiffness of speech and facial muscles and, conversely, to increase the tone of weak and sluggish muscles. To relieve tension from the face, relax it, you can use the so-called self-massage. Here we will get acquainted with its two types: hygienic and vibrational.
Hygienic massage is performed by stroking, while those located close to the skin are activated. nerve endings. This massage performs a dual role: it relieves tension and stiffness of the facial and facial muscles and strengthens the tone of these muscles if they are weak.
Development intonation skills in children It has great value for speech development, since fromthe ability to adequately perceive, interpret and reproduce speech intonation and, depending on this, build one's behavior, the success of the communication process largely depends. Excessive or insufficient emotional expressiveness, its inconsistency with the conditions of the speech situation is one of the sources of conflicts in interpersonal communication.
To intonation skills include: the ability to perceive by ear, changes in all acoustic parameters of intonation; distinguish by intonation the expression of the main emotional states (joy, sadness, anger, fear, surprise, contempt, disgust) and the semantic shades of the sounding statement; correctly arrange logical stresses; raise and lower the voice, own the power of the voice; maintain pauses, correlate the pace of speech with the content of the text; convey the meaning of the phrase with the help of intonation; select the necessary intonation to express any emotional state; give a verbal description of the intonation of emotional speech;as well as to convey emotional intonations in writing.
A practical means of carrying out development work intonation skills junior schoolchildren are speech exercises.
In the psychological and pedagogical dictionary we find the definition " an exercise- repeated performance by students of certain actions in order to develop and improve skills and abilities in academic work". From this definition It follows that the exercises are designed to organize the reproductive (reproducing) activity of students, necessary for the development of skills and abilities and does not require the student to creative thinking. However, in the process speech activity always present in one way or another. creativity. For development in the process of working on the intonation of students, it is proposed to use heuristic, problematic, creative tasks along with reproductive exercises.
The following main groups can be distinguished speech exercises to organize development work intonation skills children:
1) Exercises to master the components of intonation (logical stress, melody, tempo, volume, timbre, pauses), for example:
* Read the sentences. Think about how you need to place logical stresses. What words in the sentences helped to do this correctly?
Are you coming today or someone else?
Are you coming today or tomorrow?
Are you coming today or not?
Rain, rain, more
I'll give you thick
I'll go out on the porch
Give me a cucumber.
Ladies and loaf of bread -
Water as much as you want!
* Recall and act out a fragment from a fairy tale « Three Bears » in which the bears returned home. What is the timbre of each bear's voice?
2) Exercises for the development of expressiveness of speech:
* Prepare the text for speaking aloud: mark logical stresses, place pauses, mark up the movement of the voice, tempo, voice strength and timbre. Read expressively.
* Expressively read a fragment from a fairy tale « golden key » , observing the intonational settings of the author and paying attention to notes about the timbre of the voice.
3) Enrichment exercises vocabulary:
* What emotions do the characters from the story of N. Nosov experience « buddy » ? What intonation settings would you give to the participants in the dialogue? What words can replace verbs « He speaks » and « said » ?
The train stopped. We got out of the car and went home. It was quiet in the suitcase.
“Look,” said Mishka, “when it’s not necessary, he is silent, and when it was necessary to be silent, he whined all the way.
- We need to look - maybe he suffocated there? I say. Mishka put the suitcase on the ground, opened it ... and we were dumbfounded: Druzhka was not in the suitcase! Instead, there were some books, notebooks, a towel ...
- What is it? Mishka says. - Where did Buddy go?
Then I realized what was the matter.
— Stop! I say. - Yes, this is not our suitcase!
The bear looked and said:
- Right! Holes were drilled in our suitcase, and, then, ours was brown, and this one was some kind of red. Oh, I'm crazy! Grabbed someone else's suitcase!
“Let’s run back as soon as possible, maybe our suitcase is still standing under the bench,” I said.
4) Exercises to correlate sentence intonation and punctuation:
* Supply necessary signs punctuation (periods, interrogative and exclamation points). Read with intonation.
Here is a rice field, but is this field some kind of swamp, water, and grass sticks out of the water, this is not ordinary grass, this is rice growing
(According to L.Kon)
* Read a poem typed in a printing house by an absent-minded typist. What's messed up here? Correct the poem by placing pauses and commas correctly.
B. Zakhoder
Where to put a comma
Very, very weird look.
The river outside the window is burning
Someone's house is wagging its tail
Dog shoots a gun
The boy nearly ate a mouse
cat with glasses reading a book
Old grandfather flew in through the window,
The sparrow grabbed the grain
Yes, how to scream, flying away:
- That's what the comma means!
5) Exercises to correlate intonation and the meaning of the sentence:
* Any tongue twister can be read with different intonation shades. What determines their choice?
« From the clatter of hooves, dust flies across the field » .
a) joyfully, enthusiastically (How beautifully the horses race!)
b) irritated, dissatisfied (They sprayed only ...)
c) contemptuously (Fu! What dust!)
« The raven crow missed » .
a) with regret (Sorry for the little crow)
b) with condemnation (That crow is a bungler!)
c) with surprise (Impossible!)
* Imagine that the phrase from the announcer's message « Weather for tomorrow: Partly cloudy, occasional rain » repeat aloud different people and everyone thinks about their own. Try to pronounce these words for:
- the passenger who took the plane ticket ( « Eh, I should have taken a train ticket » );
- a vacationer at the sea ( « So you won’t tan and you won’t buy, but soon you’ll be home! » );
- an agronomist in the days of a long drought ( « Finally » );
- signed up for an interesting excursion tomorrow ( « Will they cancel or not? » ).
6) Exercises to build a sentence with the right intonation:
* Ask a question so that the sentence serves as an answer to it.
…? Ripe apples in the orchard...? There are ripe apples in the garden. …? There are ripe apples in the garden.
* Come up with interrogative sentence and ask this question to a friend with different logical stresses.
7) Exercises for the perception and correlation of the main emotions of a person by intonation and facial expressions:
* Look at the illustrations. How do the characters depicted on them feel? How did you guess? What can they say? What intonation? Say.
* Look at the illustrations. Think about what facial expressions should be in a person who pronounces a phrase. Draw his face. What is the intonation of this phrase?
* Read excerpts from the fairy tales of H.-H. Andersen « ugly duck » and « Thumbelina » with appropriate intonation and facial expressions.
1) Everyone drove the poor duckling, even the brothers and sisters told him: « If only the cat had dragged you away, you insufferable freak! » And the mother added: « Eyes would not look at you! »
2) ... Other May beetles that lived on that tree came for a visit. They looked at the girl from head to toe, and the young bugs wiggled their antennae and said:
She only has two legs! It's a pity to watch!
- She doesn't have a mustache!
What a small waist she has! Fi! How ugly! - said in one voice all the female beetles.
8) Exercises for expressing emotional states in oral and written speech:
* Express in turn different emotions of a person (joy, sadness, anger, fear, etc.) using facial expressions, gestures and intonation, saying numbers from 1 to 10.
* Speak phrases expressing different emotions with your voice. Let your listeners try to identify them.
« Open the door! » - angrily, tragically, sadly, pleadingly, joyfully, arrogantly, irritably, cunningly.
« Came! » - frightened, maliciously, with a sense of joyful relief, bewitching, offended.
« Well done! » - admiringly, surprised, mockingly, indifferently, affectionately.
* Give the phrases a given emotional coloring using special words and expressions and punctuation marks.
Tysup oversalted (with disgust); What a big mushroom (surprised);
Holidays will start soon (happily); How should I be (sadly)
* Think up and write down joyful phrases with interjections « Oh! » and sad phrases with interjections « Oh! » . What punctuation mark would you put at the end of these sentences?
A special place in the education of younger students is occupied by the game.
Game exercises the following functions are assigned: a) to facilitate, revitalize educational process; b) stimulate the activity of students, the desire for leadership (competitive function); c) "theatricalize" the educational process. At the core gaming activity lies creative imagination, which helps the guys try on speech roles, transform into literary heroes, evaluate them speech behavior. Game forms allow the child to realize their fantasies, dreams, intentions, including communicative ones. While doing speech exercises Children playing, on the one hand, master the intonational and mimic means of expressing emotions and recognizing other people's feelings, on the other hand, their own emotions and feelings are enriched.
Here are examples of game intonation tasks:
* A game « Listen to me: what do I feel? »
The host says this phrase with intonation of one of the main emotions. The rest must guess by intonation what emotional state the leader conveyed. The one who guesses first becomes the leader.
* « Alphabet » . Try to pronounce the alphabet in one breath, gradually raising your voice. What letter did you get? Compete with a friend. Whoever stops closer to the end of the alphabet wins.
* « Who is correct? » Several people are playing. Read the sentences one by one, pausing correctly. Whoever reads it wrong is out of the game. The one who lasts the longest wins.
Where to stay here? Where to stay here? What hurts? What hurts? Well, what shall we sing? Well, shall we sing? How did you finish? How are you done? Give me another new book. Give me another new book. Execute, you can not pardon. It is impossible to execute, pardon. I did not see my brother, comrade and his sister. I didn't see my comrade's brother and his sister. Them, children were sent to the camp. Their children were sent to the camp.
* Each student receives one or two phrases from the newspaper, which must be read with the indicated intonation shades. One student reads out his task, the rest, relying on the intonation dictionary, try to guess with what intonation the phrase was pronounced.
Natalya Vasilevskaya
