Basic phonetic means of the Russian language. Phonetic means of expression. Euphony of speech

IN work of art, mainly in poetry, various techniques are used to enhance the phonetic expressiveness of speech. One of the main visual means of phonetics is a stylistic device consisting in the selection of words with similar sounds:

Peter is feasting. And proud and clear,

And his gaze is full of glory.

And his royal feast is wonderful.

(A.S. Pushkin)

The consonants [p], [p], [g], and vowels [o], [a] are repeated here. This makes the verse musical and bright.

Depending on the quality of the repeated sounds, alliteration and assonance are distinguished.

Alliteration called repetition of consonant sounds:

I am the free wind, I blow forever,

I wave the waves, I caress the willows,

In the branches I sigh, sighing, I grow dumb,

I cherish the grass, I cherish the fields.

(K.D. Balmont)

The repetition of consonant sounds [l], [l’], [v], [v’] creates an image of wind, the blowing of which is felt almost physically.

A.S. mastered this technique perfectly. Pushkin. In the novel “Eugene Onegin” he describes two ballroom dances:

The Mazurka sounded. It happened

When the mazurka thunder roared,

Everything in the huge hall was shaking,

The parquet cracked under my heel,

The frames shook and rattled;

Now it’s not the same: we are like ladies,

We slide on the varnished boards.

The selection of consonant sounds gives the reader a clear idea of the differences between Thais: the cluster of sounds [g], [p], [z], [z] when describing the first dance evokes a feeling of its swiftness and energy; the smoothness and slowness of the second dance is emphasized by the abundance of sounds [l], [m].

Assonance called repetition of vowel sounds. Assonance is usually based on only stressed vowels, since in an unstressed position the vowels are reduced:

Whisper, timid breathing, [oh-oh-ah]

Trills of the nightingale, [uh]

Silver and swaying [oh-ah]

Sleepy stream, [oh-ah]

Night light, night shadows, [uh-uh]

Shadows without end, [uh]

A series of magical changes [uh-uh]

Sweet face [ee]

There are purple roses in the smoky clouds, [y-o-o-o]

Glint of amber, [oh-ah]

And kisses and tears, [a-o]

And dawn, dawn!...[ah-ah].

I fly quickly but on cast iron rails I think my thoughts.

(N.A. Nekrasov)

The sound [у] is repeated, creating the impression of a buzzing, rushing train.

In the poetic texts below, assonance is combined with alliteration, which creates a special musicality of the poetic lines:

But in the atonement of long punishment,

Having suffered the blows of fate,

Rus' has grown stronger. So heavy bastard

Crushing glass, forges damask steel.

(A.S. Pushkin)

Quiet Ukrainian night. The sky is transparent

The stars are shining.

To overcome your drowsiness He doesn’t want air.

(A.S. Pushkin)

Chalk, chalk but the whole earth,

To all limits.

The candle was burning on the table,

The candle was burning.

(B.L. Pasternak)

Another technique of sound writing (corresponding to the phonetic composition of the phrase with the picture depicted) is onomatopoeia- the use of words that sound reminiscent of auditory impressions of a given phenomenon.

For more than two centuries, the lines of A.P. have remained a model of onomatopoeia. Sumarokov, where the croaking of frogs is depicted as follows:

Oh, how, oh, how can we come to you, Gods forbid!

There are words that, when pronounced, resemble the actions they call: rustle, hiss, strum, snore, clatter, tick and so on. The sound of such words in artistic speech enhanced by their phonetic environment:

The rain began to trickle down.

(A. Tvardovsky)

The repetition of the consonance [cr] is reminiscent of the tapping of raindrops on an iron roof.

In a prank twister: From the clatter of hooves, dust flies across the field- phonetic expressiveness the main onomatopoeic word “Toyot” is enhanced by alliteration [t-p].

Rhyme - A striking feature of the verse is also built on the phonetic capabilities of the Russian phonetic system - on sound repetitions:

Mountain peaks Sleep in the darkness of the night.

Silent valleys are full of fresh darkness.

(M.Yu. Lermontov)

The fields are compressed, the groves are bare,

There is fog and dampness from the water,

The sun quietly rolled down like a wheel behind the blue mountains.

(S.A. Yesenin)

The storm covers the sky with darkness,

Whirling snow whirlwinds;

Then, like a beast, she will howl,

She will cry like a child.

(A.S. Pushkin)

An important means of organization poetic speech is the stress, it rhythmically organizes the poem. Promotes

phonetic expressiveness of speech, rhythm and intonation. Rhythm is a certain way of dividing speech that promotes balance and euphony. With its help, a certain mood is created and the emotional and expressive properties of the text are emphasized. All types of phonetic means speech expressiveness allow not only to fully present the melodic essence of poetic speech, but also to reveal the meaning of the work.

Control questions

1. What is alliteration?
2. What is called assonance?
3. What is onomatopoeia?
4. What is rhyme?

Workshop

Task 1. Highlight assonance and alliteration. Explain phonetic means of speech expression.

Once a collapse broke out,

And fell with a heavy roar,

And he blocked off the entire gap between the rocks,

And the mighty shaft stopped the Terek...

STRESS

Stress is an important means of the phonetic structure of the Russian language. It, for example, can emphasize with greater vocal power one of the syllables as part of a polysyllabic word (word stress) or one word as part of a speech beat, or a beat as part of a phrase.

Physiologically, the isolation of a stressed syllable in the Russian language is carried out through some tension of the organs of the speech apparatus, as a result of which such a syllable is distinguished by greater sound strength, duration and clarity of pronunciation of all its sounds. This type of stress is called forceful, or dynamic . Note that that verbal stress is acquired, by the way, individually, starting With childhood. This circumstance should be taken into account by those who work (or are planning to work) With preschoolers. Incorrectly learned stresses in infancy lead to long O know for yourself in the future. That's whyAnd This aspect of the formation of a child’s speech must be treated with extreme care.

Usually in a speech stream there are as many stresses as there are significant words in it, since each of them has an stress and, moreover, most often one. In other words, stress in this case serves as a means of distinguishing and highlighting words in speech. But in the flow of speech there may often be words with weakened stress. Most often these are non-monosyllabic prepositions of adverbial origin ( after, past, around, about, besides and under), as well as verb connectives ( be, become).

The stressed syllable is the most important in a word, often determining the pronunciation of other syllables. In written texts, word stress is usually not indicated. But in necessary cases, a sign is placed above the stressed vowel (/) acute

Russian word stress as a phonetic means, in addition to highlighting words within the speech stream, can also perform other distinctive functions associated with its diversity and mobility.

Diversity is expressed in the fact that the stress in words is not assigned to any one syllable (as is found in a number of other languages), but can be at the beginning, in the middle or at the end of different words (zo" loto, iron "zo, silver ", raven, raven, raven, etc.).

This stress function allows you to differentiate the meaning of words that have the same sound (homographs): mu "ka-muka", za "mok-zamo"), as well as the grammatical forms of different words (pi "li - drank", se "lo - village" , about the "abyss - abyss" there).

However, Russian verbal stress can also move, i.e. it is mobile , capable of moving from one syllable to another, distinguishing (or facilitating this) grammatical forms of the same word: ru"ki-ruki", heavy "heavy - heavy" - heavier, etc.)

Words with movable stress are found infrequently in the Russian language (it is believed that there are about 4%), but they are quite frequent, and therefore cause a lot of inconvenience to speakers. The remaining 96% of words have a fixed stress, which during word formation and inflectional processes always falls on the stem or ending.

Thus, stress in the Russian language serves as one of the phonetic means of distinguishing words and their grammatical forms in the speech stream, i.e. essentially has a phonological meaning.

INTONATION

Phonetic means include intonation, which, along with stress, is involved in dividing the speech flow into individual components: phrases, speech beats, phonetic words.

Intonation is the rhythmic and melodic side of spoken speech. The concept of intonation usually includes such essential features as melody (movement of the fundamental tone of the voice), the strength of the sound of individual words in speech, the tempo and timbre of speech, the intensity of its sound, pauses. All these elements of intonation actually appear in oral speech only in unity.

In the Russian language, there are usually six intonation structures (IC), which differ in a set of essential features.

Intonation functions to a greater extent as a means of distinguishing entire utterances in terms of their target and other content. But it is able to differentiate the semantic content of phrases that have the same sound and vocabulary, that is, to be a means of semantic delimitation of independent segments of speech. For example, the following sentences with different intonation patterns are ambiguous:

It is raining? - It’s raining (question - message)

Your ticket! - i.e. show your ticket

Your ticket? - i.e. Yours or not yours.

Intonation is closely related to the grammatical nature of speech: with simple and complex structures of different target colors, with various kinds of sentence complications, with conjunction and non-conjunction constructions, etc. Each of these varieties has its own intonation pattern, its own intonation originality, which does not allow them to be combined.

Intonation is inherent in every oral speech. Without it, there is no speech act, whose wealth lies not only in vocabulary, in its connections and combinations, but also in intonational expressiveness. Intonation divides the speech flow into semantic segments (phonetic units), formalizes statements according to their target setting, actualizes individual members, etc.

Intonation also affects emotional coloring speech. Anger, joy, delight, contempt are manifested in the same statement by changing only the intonation. Compare, for example, the combination of words “Thank you,” which can acquire all the subjective shades indicated above, only with different intonation colors.

The considered phonetic means make it possible (individually or in combinations) to successfully distinguish between significant lexical and grammatical elements of the language, breaking the continuous sound chain of oral speech into certain segments, links that have their own content, i.e. on phonetic units.

Introduction

Rhetoric - the theory of eloquence, the science of oratory. This is the science of the art of constructing speech, the rules of its delivery in order to have the desired impact on the listener. In addition to the lexical meaning, each word also contains other components. Words, therefore, can differ in stylistic coloring; they can be elevated, neutral and lowered (eyes, eyes, peepers). The word can denote both a neutral phenomenon (meeting) and give it an assessment (gathering).

Language means of contact are special words and expressions that activate the attention and thinking of listeners. Through them it is established Feedback. Thanks to it, in turn, you can see how the audience reacts to the speaker’s words (exclamation, approving nod, interested, lively look, approving or disapproving remark, etc.).

The figurative means of the Russian language play vital role in a speech, in my work I will try to study in detail their main elements.

Phonetic means

Fine and expressive means are present on different levels language system. At the phonetics level, figurative and expressive means such as speech sounds, word stress, rhythm and rhyme are used. Phonics studies the stylistic function of these means. Phonics is also called the sound organization of speech.

Euphony of speech. Speech should be euphonious, that is, easy to pronounce and pleasant to the ear, which is achieved mainly by the perfect combination of vowels and consonants in the text, as well as the predominance of musical (“beautiful”) sounds.

Vowels, sonorants and most voiced consonants are considered musical sounds. Non-musical sounds are noisy voiceless sounds, especially hissing [w], [ch] and whistling [s], [s"], as well as voiced hissing and whistling [zh], [z], [z"].

The use of musical sounds, which in relation to non-musical noisy deaf sounds makes up 74.5%, gives speech melodiousness and beauty of sound. So, in Yesenin’s line Snowy Plain, White moon, our side is covered with a shroud, combinations of sounds are easy to pronounce, short words alternate with long ones, the intonation is melodic and smooth. All this creates euphony, or euphony.

Euphony can also be achieved by combining several consonants. In Russian, such combinations often consist of two, sometimes three consonants, for example: ford, fight, adult, line. This combination of consonants does not contradict the laws of euphony. But the combination of four or more consonants at the junction of two words disrupts the euphony of speech, for example: The Minister met with the students; cordiality of meetings.

Typically, combinations of two consonants are found at the beginning or in the middle of a word, for example: snapshot, glass, cheerful. This arrangement of sounds does not disturb the euphony. But the accumulation of consonant sounds at the end of a word makes articulation difficult. This occurs in short adjectives and in the genitive form of the plural of nouns, for example: kind, musty, round, callous; fraternities Euphony is restored if a fluent vowel appears between the consonants, for example: blesn - blesen, beautiful - beautiful (cf.: blesn, beautiful).

In the Russian language, combinations of consonants predominate, built according to the law of ascending sonority - noisy + sonorant: gr, dr, cl, pl, cm, zn, zl, tl. Such combinations are more often found at the beginning and in the middle of a word, for example: thunder, pogrom, friend, girlfriend, treasure, pledge, fruit, produce, know, know, anger, goats, broom. All this creates euphony. Such combinations rarely appear at the end of a word, for example: rod, look, view.

For the Russian language, combinations like nd, mb are uncharacteristic, since in them sonorants precede noisy ones, for example: pretzel, ice cream.

In Russian speech, euphony is supported in other ways. Yes, for the sake of euphony

One of the consonant sounds is not pronounced, for example: honestly, late, hello;

Prepositions with the sound o are used, for example: to me, in all, above me, about me, under me, with me;

Syllabic sonorants are pronounced, for example: minister, cry, illness;

Phonetic changes are used in foreign words, for example: bivouac - bivouac (troop parking under open air for an overnight stay or rest), Ioan - Ivan, Theodore - Fedor.

So, euphony is supported by the legitimate relationship of vowels and consonants in the text. Cacophony of speech may appear:

When vowels meet on the edge of words (the so-called external gap), for example: And in Ni and in her John (I. Selvinsky);

When identical (or similar) consonants are accumulated in a sentence, as well as when the same consonants are obsessively repeated, for example: Scilla is a forest plant that forms a background in the herbaceous layer of the forest in summer; Zina knew the local bays from childhood;

When using only short or only long words in speech, for example: Grandfather was old, gray-haired, weak, decrepit; At the end of the investigation, an indictment is drawn up - in the first case, the sentence gives the impression of some blows, and in the second case, the sentence represents monotonous, sluggish speech;

When repeating the same or the same root words, for example: the following disadvantages should be noted... (tautology);

When using the same grammatical forms, for example: Treatment of influenza patients with a new drug;

When using dissonant abbreviations, for example: LIPKH Leningrad Institute for Advanced Training of Business Executives;

When using unsuccessful neologisms, for example: marriage, etiquette.

Sound recording. In artistic speech, sound writing is used, that is, the correspondence of the phonetic composition of the phrase to the depicted phenomenon.

Such types of sound writing as sound repetitions and onomatopoeia are used.

Among the sound repetitions, the following stands out:

Alliteration, i.e. repetition of identical or similar consonants, for example: At midnight sometimes in the swamp wilderness the reeds rustle faintly and silently (K. Balmont.) - [w] creates the sound impression of the rustling of reeds;

Assonance is the repetition of identical vowels, for example: I while away my life. My crazy, deaf one: today I triumph soberly, and tomorrow I cry and sing (A. Blok.) - the repetition of the vowel [u] creates a depressing, depressing impression; Quiet Ukrainian night. The sky is transparent. The stars are shining. The air does not want to overcome its drowsiness (A. Pushkin.) - [a], [o] sound openly and joyfully;

Anaphora is the repetition of the same initial combinations of sounds, for example: Bridges demolished by a thunderstorm, coffins from a washed-out cemetery floating through the streets! (A. Pushkin.);

Epiphora is the repetition of final sounds in words, for example: On a blue evening, on a moonlit evening, I was once beautiful and young (S. Yesenin.);

A junction is a repetition of the final and initial sounds of adjacent words, for example: A cloak flaunting a hole (M. Tsvetaeva).

Onomatopoeia is the use of words of a certain sound to create auditory impressions - rustling, clicking, strumming, rattling, chirping, etc., for example: In the intervals of perfect silence, the rustling of last year’s leaves was heard, moving from the melting of the earth and from the growth of grass (L. Tolstoy.) - the sound [w] conveys quiet muffled sounds; The stalls and the chairs, everything is boiling. In the paradise they splash impatiently, and, having risen, the curtain makes a noise (A. Pushkin) - the repetition of sounds [р], [п] conveys the increasing noise in the theater before the start of the performance, and the repetition of sounds [з], [ш], [с] ] creates the auditory impression of the noise of a rising curtain.

Among onomatopoeias, onomatopoeias stand out, i.e. words whose sound resembles the processes they denote. They call sounds made by humans, animals, inanimate nature, for example: gasp, giggle, groan; chirp, meow, hiss, cackle, crow, creak, rustle, clatter, tick, strum, rattle; strum (on a balalaika), crunch (twigs).

Sound-like words are also used that do not imitate sounds, but with their expressiveness in sound help to convey phenomena figuratively, for example: fight, roughly, scream, tear - are pronounced sharply; maiden, cling, dear, bliss - pronounced softly; quieter, you hear - the pronunciation resembles a rustle. The selection of vocabulary that is consonant with the leading word of the text creates sound images.

So, in the poem by S. A. Yesenin “Birch” artistic image birch is enhanced by means of sound writing - the repetition of sounds [b] - [r] in words of close sound.

The sound expressiveness of speech is helped by word stress and intonation. Stress, i.e. emphasizing with greater force and longer duration the voice of one of the syllables of a non-monosyllabic word, is a very important element sounding speech. Means of expression syntactic meanings and emotional-expressive coloring are melody (raising and lowering the voice), rhythm (alternation of stressed and unstressed, long and short syllables), intensity (strength and weakness of pronunciation), tempo (speed or slowness), timbre (sound coloring) of speech, phrasing and logical stress (emphasizing speech segments or individual words in a phrase), for example: Do not wander, do not crush quinoa in the crimson bushes and do not look for a trace, with a sheaf of your oat hair you will be with me forever (S. Yesenin.).

The phonetic expressiveness of poetic speech is facilitated by the rhyme repetition of individual sounds or sound complexes connecting the endings of two or more lines, for example: And I began to dream of my youth, and you, as if alive, and you... And I began to dream of being carried away from the wind, rain, darkness (A. Blok.).

“Every sound of speech is a small magical gnome.” (K. Balmont)

Lesson-research in grade 7 “Phonetic means of expression. Sound recording."

The purpose of the lesson

consider the features of the phonetic organization of sounding speech, identify the semantic function of sound writing in literary texts.

Lesson objectives:

1) training: to update the concepts of alliteration, assonance, to develop the ability to determine the phonetic and intonation features of the text, the methods of its sound instrumentation.

2) development: build skills research work, recreating and creative imagination of students, emotional and figurative speech;

3) education: cultivate love for native language, interest in folklore, Russian poetry, and research work.

During the classes

1. Goal setting

Guys, today I invite you to solve a “very difficult” riddle:

I don't buzz when I sit

I don't buzz when I walk

I don't buzz when I'm working,

And I buzz when I'm spinning.

Students. It's a beetle.

Teacher. I would like to note that this “very difficult” riddle can be easily solved by children 4-5 years old. Why do you think kids do this easily?

Students. This is due to the fact that the sound F is repeated in the riddle; by selecting this sound, the sounds that beetles make are reproduced, so both we and the kids easily imagined the one about whom it was written. we're talking about.

Teacher. What is this technique called in linguistics?

Students. This is a sound recording.

Teacher. It is this brightest means of expressiveness that will be discussed in our lesson. Please formulate its topic.

Students. Phonetic means of expression. Sound recording.

Teacher. The epigraph of our lesson will be the words of the wonderful Russian poet of the late 19th century. 20th century K. Balmont: “Every sound of speech is a small magical gnome.” (Write it down in a notebook). How do you understand the poet's words?

Students. With the help of sounds you can create various miracles.

Teacher. I invite you to a research lesson. We will explore the expressive possibilities of sound writing in order to verify the truth of the poet’s words, to see how, through a masterly combination of sounds or repetition of the same sound, masters of words help us get vivid auditory impressions, imagine the depicted phenomena, understand the thoughts and feelings of the author, as well as the nature of the lyric hero.

2. Updating knowledge

Teacher. Any research involves defining the concept of research. Let's remember what sound recording is? (advance task)

Students.

1) Alliteration - repetition of the same or similar consonant sounds. This means of expression will help me illustrate the poem by children's poetess A.I. Tokmakova:

Hush, hush, hush, hush

Mice rustling on the roof.

Under the mouse gray flag

They march step by step.

The elders go ahead

They sing the mouse anthem:

“Hush, hush, hush, hush!”

The tables are set for mice.

The rustle of the tires fades away,

At night let the mice feast

Hush, hush, hush, hush!

The repetition [w] depicts the rustling of mice, the rustling noise they can make.

2) Assonance - repetition of vowel sounds. I will illustrate this linguistic phenomenon by referring to A.S. Pushkin’s poem “Poltava”:

Quiet Ukrainian night.

The sky is transparent. The stars are shining.

Overcome your drowsiness

Doesn't want air.

Repeat [a] depicts the splendor, great space, depth, height, calm, peaceful breath of the Ukrainian night.

3) Onomatopoeia - the use of words whose sound resembles the auditory impressions of the depicted phenomenon. I looked for examples in many dictionaries and reference books, and in each of them the lines of A. Sumarokov were given as an example, where the croaking of frogs is depicted like this:

Oh, how, oh, how can we not talk to you, God!

3. Student messages

Teacher. Sound recording as a means of expression has attracted the attention of wordsmiths for a long time. This convinces us historical reference prepared by the guys:

1) Already in the 18th century, M.V. Lomonosov in “Rhetoric” proves that the poet, when composing his poems, selects words not only by meaning, but also by sound: “In the Russian language, it seems, the frequent repetition of the letter A can contribute to the image of splendor, the great space of depth and height; the frequency of written E, I - to the image of tenderness, caressing; through I you can show pleasantness, amusement, tenderness, through O, U, Y - terrible and strong things: anger, envy, pain and sadness."

2) Characterizing each sound of speech, K. Balmont also tries to endow it with a semantic load, to assign certain images to it: “O is the sound of delight, triumphant space is O: field, sea, space. Everything huge is defined through O, even if it is dark : groan, grief, sleep, midnight. Big as valleys and mountains, island, lake, cloud.”

3) Speaking about the sound instrumentation of spoken phrases, the Russian writer Yevgeny Zamyatin wrote: “Every sound of the human voice, every letter, in itself evokes certain ideas in a person, creates sound images. I am far from attributing to each sound a strictly defined semantic or color meaning, however

The sound [r] clearly tells me about something loud, bright, red, hot, fast.

[l] - about something pale, blue, cold, smooth, light.

The sound [n] is about something tender, about snow, sky, night:

The sounds [d] and [t] are about something stuffy, heavy, about fog, about darkness, about something musty.

The sound [m] is about sweet, soft, about mother, about the sea.

[a]- is associated with latitude, distance, ocean, haze, scope.

C [o] - high, blue, womb:

S [i] - close, low, squeezing."

4. Associative warm-up No. 1

Teacher. Are poets and writers right? Can you trust their phonetic and aesthetic taste? The study involves experimental work. We will experimentally prove or disprove the idea expressed about the connection between sound and meaning. If such a connection exists, then different people the same sounds should evoke the same associations.

(First I show the sounds, the guys give characteristics, then I open the answers, i.e. those characteristics that are given to sounds by poets and writers. We draw a conclusion about the connection between sound and meaning)

Teacher. Characterize the sounds (1-2 definitions) by size, strength, beauty.

[p"], [x"] - weak, frail, small, bad;

Teacher. Convey the mood and character that is created using the following sounds:

[x"] [s"] - cowardly;

[S], [k], [t] - sad;

[D], [n], [l], [m] - kind;

[F], [z], [s], [f] - evil;

[i], [l"] [m"] - tender.

5. Research work

Teacher. Now that the connection between sound and meaning is beyond doubt, let’s take a closer look at it. Let's conduct our own linguistic research. Let's try to determine the type of sound recording and its connection with meaning in works of the small folklore genre - in riddles. It is not by chance that we turn to folklore. The Russian people have always been very attentive to words, sensitively capturing the slightest nuances of both sound and meaning. We must know this and be proud of the glorious heritage of our great people. We work in groups. Each group must complete the following tasks:

Card 1

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

Students. This is a braid. The riddle combines assonance and alliteration. The repetition of the hissing consonant sound [ш] and vowel sound [у] conveys the sounds of mowing.

Card 2

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

Students. This is a boat. The riddle uses assonance. The repetition of the vowel sound [u] helps convey her movement.

Card 3

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

Students. It's the wind. The riddle uses assonance. The repetition of the vowel sound [у] helps to imagine the sound of the wind, its howling.

Card 4

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

Students. It's a blizzard. The riddle uses alliteration. The repetition of the sounds [r, h] helps to describe her breathing, the whirling of snow, and gusts of wind.

Teacher. What did our research work convince us of?

Students. With the help of sound recording, you can convey a variety of sounds of nature, understand them, and get a variety of auditory impressions.

6. Associative warm-up No. 2

Teacher. We continue our research. Let's talk about the role of sound writing in poetic tesques, because poetry is the most vivid expression of all means of speech expressiveness, including sound writing. I offer you associative warm-up No. 2: you close your eyes and listen to poetry, and then talk about the images that you imagined, about the feelings that arose. What sounds helped you? Draw a conclusion about the role of sound recording. (Reading by heart).

Dry leaves, dry leaves,

They circle and rustle under the dull wind,

Dry leaves, dry leaves,

Dry leaves under the dull wind,

Whirling around, what are they whispering, what are they saying?

Students. I listen to a poem, and images of twilight and evening appear in my imagination, it seems that you hear rustling sounds, a feeling of anxiety and confusion arises. The repetition of the word dry hints at the obsolete, the dead; this gives rise to uncertainty and fear in the soul. Sound recording helps the poet to depict and the reader to imagine various images, paintings, evokes certain feelings.

M. Tsvetaeva

Elderberry has flooded the entire garden!

Elderberry is green, green!

Greener than mold on a vat.

Green means summer is at the beginning!

Blue - until the end of days!

The elderberry of my eyes is greener!

Students. The poem uses ringing, life-affirming sounds. One can hear a polyphonic roll call of sounds that reflect the exuberant triumph of colors, bright, contrasting sounds. Sound recording gives rise to specific auditory impressions.

K. Balmont

And a blue outlook.

I came to this world to see the Sun

And the heights of the mountains.

I came to this world to see the Sea

And the lush color of the valleys.

I have concluded the worlds in a single gaze,

I am the ruler.

I defeated cold oblivion

Having created my dream.

I fulfilled revelations every moment,

I always sing.

Suffering awakened my dream,

But I'm loved because

Who is equal to me in my singing power?

Nobody, nobody.

I came to this world to see the Sun,

And if the day goes out,

I will sing. I will sing about the Sun

At the hour of death!

Students. This poem is dominated by vowels [a, o, y] - strong, open, joyful. It is their abundance that creates a joyful, solemn, loud sound. Behind them is the image of a lyrical hero, confident in life, striving for life’s victories and discoveries, affirming the power of man. Sound recording helps to paint the image of the lyrical hero.

7. Reasoning on a linguistic topic

Teacher. And once again we were convinced that “every sound of our speech is a small magical gnome”, capable of conveying the thoughts and feelings of poets, drawing a variety of pictures in our imagination, understanding the mood and character of the lyrical hero.

Not only poets and writers, but also many linguists have pointed out these abilities of sounds and studied them, and research in recent decades has been carried out using the most advanced computer technology, only confirmed those associative connections that were written about a hundred or more years ago. Linguists L. Krysin, A. Zhuravlev and others presented in their works many interesting observations about the connection between sound and meaning. Let's get to know some of them. Let's turn to the textbook. We work in pairs (exercise 400, we study the poetic texts of exercise 33). The result of our research should be a discussion on a linguistic topic. (See Attachment).

Students. Modern linguist G. Lidman-Orlova believes that “our feelings are influenced not only by the words and the meaning of the statement, but also by the sound of speech itself. To enhance the impression, poets often select a sound range for their poems that emphasizes poetic images.” The poetic lines of Maximilian Voloshin will help us verify the truth of these words:

My fire burned out on the desert shore,

The rustling rustles of flowing sand

And the bitter soul of yearning wormwood

In the languid darkness it swayed and flowed.

In the first line, the author uses assonance: the repetition of [a] conveys the image of space, splendor, height, and in it the alliteration on [p] conveys the crackling sound that can be heard near a fire. In the second line, the alliteration on [ш] conveys the sound of sand moving in the wind. The assonance in the third and fourth lines [o, a, a, a], [o, a, e, a, a, a, a] conveys melodiousness and melody. The poet's skill lies in the fact that he was able to find words with such a sound composition that we vividly imagined a dying fire in the vast desert (probably the name of the steppe), a lonely blade of wormwood grass, perhaps a lyrical hero suffering from bitter loneliness.

Students. Many researchers of Russian phonetics pointed out that speech sounds are endowed with semantic load. In particular, G. Lidman-Orlova believes that “our feelings are influenced not only by the words and the meaning of the statement, but also by the very sound of the speech. To enhance the impression, poets often select a sound range for their poems that emphasizes poetic images.” The poetic lines of K. Balmont will help illustrate this function of sounds:

Midnight in the swamp wilderness

The reeds rustle barely audibly, silently.

What are they whispering about? What are they talking about?

Why are the lights burning between them?

In the first two lines, the alliteration on [h, s, w] conveys the rustling and whispering of the coastal reeds. Reeds not only whisper, they also make other sounds, so the author used alliteration on [p]. The poet created such poetic lines that will not leave anyone indifferent. We read them, and our imagination pictures a night on the shore of a forest lake, close-ups of reeds and other coastal grasses. Let us listen, and we will hear the quiet splash of water, the gentle rustling of reeds, the whispering of sedge, the crackling of dried blades of grass.

Teacher. As you can see, with the help of assonance and alliteration, masters of the poetic word can tell their readers a lot.

8. Miniature essay

Teacher. Any research in linguistics presupposes having your say on the research question. In our case, this could be writing a miniature essay using sound recording. Read the task in exercise 404 (Think about what the leaves are whispering about on a cloudy autumn day). Paint a miniature using painting. We work in pairs.

Keywords: dry leaves, spinning, rustling, whispering, laughing, crackling.

9. Lesson reflection

Was Balmont right when he believed that every sound of our speech is a “small magical gnome”?

Students. Of course, every sound of our speech is a “small magical gnome.” And today in the lesson we saw how, by skillfully combining sounds or repeating the same sound, masters of words help us get vivid auditory impressions, imagine the phenomena depicted, and paint magnificent pictures of our native nature in our imagination.

Teacher. I sincerely hope, guys, that after doing your research, you saw that the sound fabric of a poetic work helps readers understand the poet’s thoughts, feelings and mood of the lyrical hero. The poetic word seems to have its own taste, color, smell, volume. And to feel this word, and not just understand its lexical meaning, to feel its taste, smell, its other meaning, often hidden, helps its SOUND. It is important to be able to hear, and when hearing, to understand the hidden meaning, which is not always on the surface. Hearing and understanding, enjoy the sound of the word. I wish that you are surrounded only by pleasant-sounding words, so that you want to utter only pleasant-sounding words. Be healthy and happy!

References

Golub I.B. Exercises on the stylistics of the Russian language. M.: Iris Press, 2006.

Gorshkov A.I. Russian literature. M.: Education, 1995.

Doronina T.V. and others. Analysis of the poem. Tutorial.- M.: Publishing house "Exam", 2004.

Lozinskaya T.P. Linguistic analysis in Russian language lessons. 5-6 grade. -M.: “Moscow Lyceum”.

Lvova S.I. Literature lessons. 5-9 grades: A manual for teachers. - M.: Bustard, 1996.

Lvova S.I. Language and speech. Textbook for grades 8-9. - 2nd ed. - M.: LLC "TID "Russkoe Slovo-RS", 2000.

Merkin G.S. and others. Speech development. Expressive means of artistic speech: A manual for teachers. - M.: LLC TID "Russkoe Slovo-RS", 2005.

Novikov V.I. Literary criticism and stylistics. M.: Pedagogy - Press, 1997.

Appendix to the lesson “Phonetic means of expression. Sound recording"

Sounds and meaning

	splendor, great space, depth,
	tall, blue,
	close, low, squeezing
	sadness, tenderness, melodiousness
	loud, bright, red, hot, fast, shaking
	pale, blue, cold, smooth, light
	tenderness, snow, sky, night
	stuffy, heavy, fog, oh darkness
	cute, soft, mother, sea
[w, f, s, h, f, x]	rustling, noise, whispering, rustling

Characteristics of sounds by size, strength, beauty

[v], [a], [p] - strong, active;

yu, [p"], [x"] - weak, frail, small, bad;

[a] - wide, strong, good;

[k], [w], [f], [s], [f], [sch] - rough;

[o], [i], [m], [l], [y] - smooth.

Characteristics of sounds by mood, character

[a], [p] - brave, cheerful, joyful;

[s], [x"] - cowardly;

[S], [k], [t] - sad;

[D], [n], [l], [m] - kind;

[F], [z], [s], [f] - evil;

[i] [m"] [l"] - tender

Card 1

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

A pike walks around the creek, looking for the warmth of a nest, where the grass is thick for the pike.

Model your answer as follows:

Card 2

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

I go, I go, there is no trace; I cut and cut, there is no blood.

Model your answer as follows:

This (….). The riddle uses (assonance, alliteration, assonance and alliteration combined). Repetition (what sounds?) conveys (what? what sounds?), helps to imagine (what?).

Card 3

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

Without arms, without legs he fights. Without arms, without legs, he knocks under the window, asking to come into the hut.

Model your answer as follows:

This (….). The riddle uses (assonance, alliteration, assonance and alliteration combined). Repetition (what sounds?) conveys (what? what sounds?), helps to imagine (what?).

Card 4

Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.

I twist, I mutter, I don’t want to know anyone.

Model your answer as follows:

This (….). The riddle uses (assonance, alliteration, assonance and alliteration combined). Repetition (what sounds?) conveys (what? what sounds?), helps to imagine (what?).

Modern linguist G. Lidman-Orlova believes that “our feelings are influenced not only by the words and the meaning of the statement, but also by the sound of speech itself. To enhance the impression, poets often select a sound range for their poems that emphasizes poetic images.” The poetic lines of Maximilian Voloshin will help us verify the truth of these words (read expressively).

In the first line, the author uses (assonance, alliteration?): repetition conveys (what?)_______________________________________________________________. In the second line (assonance, alliteration?) he vividly draws to the imagination (what?)________________________________________________________________________________________________________________________________________________. (Assonance, alliteration?) in the third and fourth lines allows us to see (what?)__________________________________________________________________________. The poet's skill lies in the fact that he was able to find words with such a sound composition that we vividly imagined (what picture? imbued with what feelings?)________________________________________________________________________ How did you see the lyrical hero?)_____________________________________________ __________________________________________________________________________________________________________________________________________________________.

As we see, the researcher of Russian phonetics G. Lidman-Orlova was right, who believed that “poets often select a sound range for their poems that emphasizes poetic images.”

Many researchers of Russian phonetics pointed out that speech sounds are endowed with semantic load. In particular, G. Lidman-Orlova believes that “our feelings are influenced not only by the words and the meaning of the statement, but also by the very sound of the speech. To enhance the impression, poets often select a sound range for their poems that emphasizes poetic images.” The poetic lines of K. Balmont will help illustrate this function of sounds (read expressively).

In the first two lines (assonance, alliteration?) does not convey (what?)_________________________________________________________________________. Reeds not only whisper, they also make other sounds, so the author used (assonance, alliteration?) on. The poet created such poetic lines that will not leave anyone indifferent. We read them, and our imagination draws (what?) ________ _________________________________________________________________________________________________________________________________________________________. Let us listen, and we will hear (what?)_________________________________________________________________________________________________________________________________________________________. The poetic lines are imbued with (what mood?)_______________________________________________________________________________________________________________________________________________, and in this, of course, the role of sound repetitions and skillful selection of sounds is great.

As we see, the researcher of Russian phonetics G. Lidman-Orlova was right, who believed that “our feelings are influenced not only by the words and the meaning of the statement, but also by the sound of speech itself.”

The created project product is addressed primarily to high school students (15-17 years old) and students who like to play intellectual team games.

A lesson on the topic "Phonics" always attracts music college students. Firstly, the topic is related to the discipline "Harmony", where the phonemic hearing of students is important (close to them), and, secondly, it includes them in research work, and not empty memorization of terms.

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OPEN LESSON ON DISCIPLINE

"RUSSIAN LANGUAGE" (1 course)

LESSON TOPIC:

PHONETICS.

Phonetic means of artistic expression

Lesson objectives:

educational:

formation of an idea about the features of phonetic means of expressiveness of Russian speech;
reading and commenting on the poem by F.I. Tyutchev’s “Autumn Evening” using biographical, historical, literary, and textual comments on the text;
acquiring skills in research work on a lyrical work;

developing:

development of figurative, associative thinking and linguistic sense in the process of analyzing a lyrical work;
developing skills and abilities of phonetic analysis of a poem; preparation for the unified state exam;
the formation of aesthetic taste and the introduction of students to the conscious reading of poems by F.I. Tyutchev;

raising:

cultivating attention to words;
development of love for the work of Russian poets;
formation of a speech culture;
development of aesthetic taste

Equipment : poem by F.I. Tyutchev “Autumn Evening”; paintings “Autumn” by Yu. Levitan; “Autumn” by Yu. Popov; music by P. Tchaikovsky “The Seasons”, Vivaldi “The Seasons” (fragments); photographs of the poet; table “Sounds of Russian speech”, autumn leaves on the desks.

Lesson form – lesson - research

Lesson PLAN

Organizational stage;
Main part: study of phonetic means of artistic expression using the example of F.I. Tyutchev’s poem “Autumn Evening”
The final stage. Conclusions.
Homework assignment. Summarizing.

During the classes

Poetry is inner music,

externally expressed by measured speech.

The word is a miracle, the verse is magic.

Music, ruling the world and ours

Soul, there is Verse.

(Balmont)

There is sound in nature

which is inaudible

there is also color,

which is invisible

but which can be heard.

H. P. Blavatsky

1.Organizational stage.Organization of the course. Announcing the lesson topic and goals.

Teacher's word: The main semantic, emotional and aesthetic load in the work is, of course, carried by the word. It is the found harmonious combination of word meaning and sound that has enormous impact.

A poetic work is a world of words and sounds that cannot always be correlated with accepted sound means. Therefore, when analyzing the poem, we turn to the sounds of the Russian language, which, in combination with other sounds, affect the perception of the poem in terms of sound and meaning.

In Russian language lessons we looked at the phonetic features of Russian speech. Today we turn to the phonetic means of expressiveness of Russian speech.

Our goals -

repeat phonetic means of linguistic expression,
continue to work on their recognition,
identify their role in the organization of literary text
continue work on analyzing the literary text.

Teacher : Pay attention to the first epigraph of our lesson (written on the board):

Poetry is internal Music, externally expressed through metered speech. The word is a miracle, the verse is magic. Music, which rules the World and our soul, is Verse.

(Balmont)

The material for our research will be F.I. Tyutchev’s poem “Autumn Evening”.

2. MAIN PART:

2.1. Terminological dictation.

Teacher : We have studied the terms necessary for the sound organization of a poem and as vivid means of artistic expression of a poem. After hearing the lexical meaning of a word, you need to write down the linguistic term.

(a student is working at the board)

A) repetition of identical vowel sounds in poetic speech, enhancing the expressiveness of poetic speech - (assonance;)

B) repetition of homogeneous sound features in poetic speech- (rhythm);

IN) repetition in poetic speech (less often in prose) of identical consonant sounds, one of the types of sound writing - (alliteration);

G) basic means of expression sounding speech, which allows you to convey the speaker’s attitude to what he is talking about - (intonation);

D) selection of words that sound similar (sound writing);

E) beauty and naturalness of sounds - (euphony)

G) one of strong position poetic text, fastened by intonation, rhyming words and semantic (semantic) connections - (RIHMA_)

Teacher : Name 2 words formed by addition (sound writing and euphony)

The course is divided (in advance) into 3 groups

Work in groups.

Teacher : Poets and researchers of poetic speech have long noticed that sounds play a certain role in the semantic organization of the text. (Reading by groups of statements.)

1st group: " In the Russian language there seems to be frequent repetition of writing A can contribute to the depiction of splendor, great space, depth and height; increased frequency of writing I, E, Yu – to the depiction of tenderness, affectionateness, deplorable or small things; through I you can show pleasantness, amusement, tenderness and inclination; through O, U, Y - terrible and strong things: anger, envy, pain and sadness..."(M. V. Lomonosov, “Rhetoric”.)

2nd group: “O” – the sound of delight, the triumphant space is ABOUT: - Field, Sea, Space. Everything huge manifests itself through ABOUT , even if it’s dark:moan, grief, coffin, funeral, sleep, midnight. Big as valleys and mountains, island, lake, cloud. Long, like a sorrowful fate. Huge, like the Sun, like the Sea. Terrible, like a scree, a landslide, thunder... It will sing, whine like a bell... The high arch of the ascended cathedral. Bottomless O"(K. Balmont.)

3rd group: "R" clearly tells me about something loud, bright, red, hot, fast. L – about something pale, blue, cold, smooth, light. Sound N – about something tender, about snow, sky, night... Sounds D&T - about something stuffy, heavy, about fog, about darkness, about something musty..." (E. Zamyatin.)

Teacher : During the lesson you can use statements. These statements are hints for our further work with you.What associations does the word “AUTUMN” evoke in you?

Students called: (leaf fall, rain, umbrellas, runny nose, raincoat....) (in groups - 2-3 associations)

At the blackboard, the student performs a phonetic analysis of the word “AUTUMN.”

The students have a table on their desks. Using a table (“what sounds convey”), groups look for words that are associated with sounds in phonetic analysis: [o] - space, caution; [With́ ] - rustling, restlessness; [and] - dreaming, inspiration; [ń] - dance;

Together with the teacher, students come to the conclusion that the lexical, associative and sound meaning of the word “autumn” are very similar.

2.3. Work on the text of F.I. Tyutchev’s poem “Autumn Evening.”

(the text of the poem is on the desks)

Teacher : The poem “Autumn Evening” was written by one of the representatives of the poetry of “pure art” Fyodor Ivanovich Tyutchev, whose fame came in his sixth decade. Poets of this direction (A. Fet, A. Maikov, Pleshcheev and others) focused their attention on nature and human feelings, on the harmony between man and nature. Poets expressed their innermost thoughts and feelings with images of nature. Tyutchev called himself “a faithful son of nature.”

2.3.1. Listening to a poem by heart. A student is reading.

AUTUMN EVENING

Touching, mysterious charm:

The ominous shine and diversity of trees,

Crimson leaves languid, light rustle,

Misty and quiet azure

Over the sad orphaned land,

And, like a premonition of descending storms,

Gusty, cold wind at times,

Damage, exhaustion - and everything

That gentle smile of fading,

What in a rational being we call

Divine modesty of suffering.

October 1830 Tyutchev (27 years old)

Teacher : ( We begin the analysis with the poetics of the title, since it contains the main lyrical image and hides the poet’s main emotion and philosophical idea. In fact, the title reflects the author’s understanding of the text.)What picture do you draw after hearing the poem?(Work in groups: each group expresses its opinion)

2.3.2. Work on the vocabulary of the poem. Examination homework(the lexical meaning of the words had to be found in an explanatory dictionary):

languor - feeling of pleasant relaxation;
languid - full of languor, tired - tender
exhaustion – a state of complete fatigue, powerlessness;
gentle – gentle, submissive, meek;
motley – consisting of multi-colored spots, stripes...
fade - wither
bashful - shy, shy
with suffering – physical or mental pain, torment

Teacher : Find words in the poem - neologisms - (lightness, modesty, motley, sad - orphaned..) (Write in a notebook)

Teacher : Find words of high style in the poem - (tree, wind, meek..) (write in a notebook) Why, in your opinion, does the author use them?

2.3.3. Teacher : Let's turn to the sound recording of the poem. One of the phonetic means is alliteration. Pay attention to the consonant sounds. What sounds are more common in this poem?(Work in groups)

We come to a common opinion - these are the sounds [ R.S.L ]( writing in a notebook)

Teacher : Find the correspondence to these sounds in the table.

Each group is given one sound. We come to the conclusion (whirlwinds, dance, aspiration) (see table) (write in notebook). We correlate the words with the theme of autumn and the theme of the poem.

Teacher : Let's look at the last two lines of the poem:

“What in a creature once m no m we are calling m" – What sound is most common in this line?We come to a conclusion- 4 M. In the table we look for an understanding of this sound. -(philosophizing, thinking)

“The divine shame of suffering.” –– What sounds in this line are repeated in each word?

We come to a conclusion- 3 ST In the table we look for an understanding of these sounds. We come to the conclusion -(doubt, anxiety, search; responsibility, creativity, destruction)

Teacher: To understand what the author wanted to say with these lines, let’s move on to lexical explanations of some words and phrases. (students write in notebooks)

Reasonable creature- choose a synonym (this is a person)

Suffering - choose synonyms (torment, torment, torture)

Shyness – choose synonyms (shyness, shyness)

Divine - choose a synonym (spiritual,)

Teacher : What do these lines suggest to the reader?

(Only a reasonable person understands that those who have spirituality suffer, experience torment, torment, and live in harmony with nature, with the whole world.)

Teacher : So what is the main theme of the poem? What gave us the main idea of the poem? (alliteration can help express the main theme of the poem)

2.3.4. Teacher : What other phonetic means do you think can help us in analyzing a poem? (assonance).

Let's look at 2 more lines of the poem.

There are in the brightness of autumn evenings

Teacher : Select only stressed vowel sounds. (write in notebook)

The answer is [E, E, E, O].

Teacher : Find the match in the table. We come to the conclusion -inspiration, dreaminess, romanticism and delight, space, simplicity

Gusty, cold wind at times,

Teacher : Highlight only stressed vowel sounds (write in a notebook)

Answer - [Y, O, E, O]

Referring to the table, we come to the conclusion:intimidation, noise, sentence, bell, victory cry, shout, space, sentence, caution.

Correlate with the theme of the poem.

Teacher : : What did the vowel sounds in the poem help you see and hear?

2.3.5. : Teacher Special attentionLet us devote some time to a bright means of artistic expression - rhyme. Remember the meaning of this word. Rhyme sets the rhythm of the poem.

(Rhyme is an important factor in the emergence of poetic images, a lever of poetic thinking. “Rhyme is wings,” said A. A. Akhmatova). What are rhymes that end in a vowel called?

Teacher (- open), to a consonant (- closed)?

: Which lines are there more in the poem: open or closed? Why?

Work in groups: express their opinions.OUTPUT: there are more closed lines, because open– such endings are considered smooth, melodious, and closed –

Teacher : are recognized as sharp, abrupt, energetic; It is the latter that depict the struggle and victory of the advancing cold elements.

rhyme is one of the main instruments of verse melody; there are female and male rhymes. How can you tell them apart? Let's look at this in our poem.

(A) female - stress falls on the penultimate syllable (in waves)

6 lines with feminine rhyme; B) masculine - stress falls on the last syllable - (on the rock)

Teacher 6 lines with male rhyme)

(: Why, in your opinion, does the author use the same number of male and female rhymes?

comparable to falling leaves, human maturity) 2.4 Teacher: .

Do sounds have color? Let's turn to epigraph 2:

“In nature there is a sound that is inaudible, and there is also a color that is invisible, but which can be heard.” E. P. BlavatskyThe ability of sounds to evoke color images has been noticed for a long time. Much has been written about the color sense of A. Scriabin, who musical sounds seen in color

Let's listen to fragments of musical works: P. Tchaikovsky “The Seasons”, Vivaldi “The Seasons” (autumn);Which color scheme did you hear? (Work in groups, we find what is common and different among composers, then we find out which musical fragment is closer to Tyutchev’s poem, why))

Teacher : There is an opinion that speech sounds, especially vowels, can also be perceived in color.

A. Rimbaud even wrote the sonnet “Vowels”, in which he colored the sounds in such a way.

The poem is read by a trained student.

A - black; white - E; I - red; U - green; O - blue;

I will tell their secret in turn,

A - a velvet corset on the body of insects,

Which buzz above the stench of sewage.

E - whiteness of canvases, tents and fog.

The sparkle of mountain springs and fragile fans!

And - purple blood, oozing wound

Or scarlet lips amidst anger and praise.

U - tremulous ripples of wide green waves,

Calm meadows, peace of deep wrinkles

On the laboring brow of the gray-haired alchemists.

O - the ringing roar of a trumpet, piercing and strange,

Oh, her wondrous eyes, her lilac rays.

Teacher : There are even results of an experiment (by musicians and linguists) on sound-color correspondences. They are shown in the table that we will use now.

Let us also explore Tyutchev’s poem.

SOUND LETTERS	COLOR
AND I	Red, bright red, thick red
	Light yellow. white, purple
HER	Green, yellow-green
I,Y	Blue, sky blue, bluish
	Grey, Dark blue, blue-green, dark purple
	Bluish
	Gloomy, dark brown, black

WORK IN GROUPS

E.Yo, U in a poem

group, please count how many times the letters are repeated A, I, Y

group, please count how many times the letters are repeated AND ABOUT

Make a conclusion for each color.

Let's try to paint a picture of an autumn evening using color. Draw a table in a notebook

sound letter	quantity	Color spectrum	quote
HER		Yellow - green	Variegation of trees
AND I		red	Crimson Leaves
		Sky blue	Misty and quiet azure
		Light yellow	The lightness of autumn evenings
		grey	Gusty cold wind
		black	Sad - an orphaned land

3.0. The final stage.

Teacher : Once again we ask the student to read the poem, pay attention to reproductions, paintings, illustrations, and relate it to the music.

Conclusions:

“Autumn Evening” is not just landscape lyrics. The poem makes an attempt to show not one specific picture, but the general essence of Russian autumn evenings; not just convey the impression, but comprehend it as a phenomenon of natural life. Nature, like man, lives according to laws: it is necessary to die in order to be reborn. The mysterious charm of autumn evenings becomes an occasion for reflection on human fate and the divine essence of suffering.

Teacher :So what role do phonetic means of expressiveness play in Russian speech?

(Phonetic means of expressiveness of Russian speech help to better understand the meaning of a poem, hear its sound, create sound and visual associations, take a different look at the poet’s world, his attitude to the word, to the reader. Phonetic means of expressiveness make us appreciate all the beauty in a new way, originality and uniqueness of Russian speech.)

4.0. Summing up.

Homework:

Find phonetic means of expression in another poem by F.I. Tyutchev.

You can't understand Russia with your mind,

The general arshin cannot be measured:

She will become special -

You can only believe in Russia.

APPLICATION

sounds	WHAT DO SOUND CONVEY?
I, E	Squeak, scream, squeal, amazement, victory cry, patience, secrecy, weakness, changeability, adaptation, inspiration and romanticism, dreaminess, light, craving for the spiritual,
	Rumble, humming, music of noise, cry of horror, despondency and sadness, indifference and inertia, slowness and passivity, phlegmatism and pessimism, regret and humility, mystery
B, P	Thunder, energy, the riot of life, the richness of being and material embodiment, which brings suffering, comfort, stability, pessimism, dust, ashes.
N, M	Purring, mooing, muttering, tormenting, dancing, philosophizing, thinking
	Thunder, ringing, destruction, fragmentation, rumble, shot, wind, roar, storm, explosion, hurricane, roar of strings, whirlwinds, fire, growl, grumbling, tiger roar, cooing, croaking, pressure, confidence, threat and destruction of barriers, heroic strength and power, masculinity, determination to the point of rudeness, rage and firmness.
	Feeling of smoothness, fluidity, dance

	The sound of delight, triumphant space, sentence, bell, surprise, gaiety, frivolity, slyness, caution, balance, charm and warmth, completeness and integrity, kindness and simplicity, contentment and complacency, spontaneity and openness, a wealth of emotions.
Y, Sh	breadth and power, noise and silence, rustling and rustling, intimidation, the attraction of the earth and comprehension of life, the feeling of the essence of existence.
Z, C, H	The hiss of a snake, the rustle of leaves, the whistle of winds, retribution, beast, sharpness, efficiency, doubt, anxiety, ray, light, clarity, purity, modesty, order. Control, precision. hardness
	aspiration, radiance, strength of aspiration, weakness in affirmation, rustling, inconsistency, doubt, anxiety, search for meaning, ray of thought, power of search (from twilight to light, clarity and purity). Communication between the distant and the near.
	Firmness, certainty, strict control, responsibility, creativity, exactingness, fulcrum, destruction, tradition. Inflexibility, integrity and absolutism. Order, tact, rhythm, sense. modesty
	tension, energy, compression. eruption, explosion, fire. Passion, power, power, tyranny.
K, X	dryness and deafness, hoarseness and roughness, weakness and reticence, quietness and dullness, modesty, energy, deception
V. P, F	influence and excitement, attraction, introduction and identification of feelings, their design. The desire for rapprochement, reciprocity and mutual understanding.
	sharpness and decisiveness, angularity and surprise. A sharp and radical turn, angle, shift, unpredictability of thought and indisputability of action. Overcoming obstacles with the mind (“the smart one will not go uphill”):
	Affirmation, support, certainty, reliability, creation, quality, kindness