08-22-1126, chapter 4.5-sentences finished.
This commit is contained in:
xiaolai
@@ -223,7 +223,7 @@ export default withMermaid(
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},
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{
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text: "4.3. 意群",
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link: "/sounds-of-american-english/4.3-group",
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link: "/sounds-of-american-english/4.3-grouping",
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},
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{
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text: "4.4. 连接",
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@@ -236,41 +236,22 @@ export default withMermaid(
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],
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},
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{
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text: "4. 而后",
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text: "5. 基础之上",
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collapsed: true,
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link: "/sounds-of-american-english/4-whats-next",
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link: "/sounds-of-american-english/5-above-ground",
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items: [
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{
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text: "4.1. 多音拼写",
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link: "/sounds-of-american-english/4.1-multisounds",
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text: "5.1. 流利",
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link: "/sounds-of-american-english/5.1-fluency",
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},
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{
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text: "4.2. 组合词汇",
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link: "/sounds-of-american-english/4.2-compounds",
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},
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{
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text: "4.3. 词根词缀",
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collapsed: false,
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link: "/sounds-of-american-english/4.3-components",
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items: [
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{
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text: "4.3.1. 常见前缀",
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link: "/sounds-of-american-english/4.3.1-prefixes",
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},
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{
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text: "4.3.2. 常见后缀",
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link: "/sounds-of-american-english/4.3.2-suffixes",
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},
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{
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text: "4.3.3. 常见词根",
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link: "/sounds-of-american-english/4.3.3-roots",
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},
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],
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text: "5.2. 情绪",
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link: "/sounds-of-american-english/5.2-emotions",
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},
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],
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},
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{
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text: "5. 总结",
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text: "6. 而后",
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link: "/sounds-of-american-english/5-sumup",
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},
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],
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@@ -227,6 +227,7 @@ audio {
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margin-top: -0.2em;
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}
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video {
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video, img {
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width: 95%;
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}
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BIN
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1000-hours/public/apple-scripts/window-position-and-size.scpt
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1000-hours/public/images/syllable-intonation.png
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After Width: | Height: | Size: 280 KiB |
@@ -0,0 +1,98 @@
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{
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"cells": [
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{
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"cell_type": "code",
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"execution_count": 8,
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"metadata": {},
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"outputs": [
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{
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"name": "stdout",
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"output_type": "stream",
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"text": [
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"../audios/city-us-female.mp3 exists\n",
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"../audios/network-us-female.mp3 exists\n",
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"../audios/conversation-us-male.mp3 exists\n",
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"../audios/sentence-opinions-vary-nova.mp3 exists\n",
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"../audios/conversation-us-female.mp3 exists\n",
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"../audios/goal-of.mp3 exists\n",
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"../audios/sentence-it-done-nova.mp3 exists\n",
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"../audios/comfort-us-female.mp3 exists\n",
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"../audios/hotdog-us-female.mp3 exists\n",
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"../audios/sentence-opinions-vary-alloy.mp3 exists\n",
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"../audios/goal-of-3.mp3 exists\n",
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"../audios/sentence-it-done-alloy.mp3 exists\n",
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"../audios/She-will-cherish-those-memories-and-ever-hold-them-close-to-her-heart.-nova.mp3 exists\n",
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"../audios/comfort-us-male.mp3 exists\n",
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"../audios/goal-of-1.mp3 exists\n",
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"../audios/hotdog-us-male.mp3 exists\n",
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"../audios/She-will-cherish-those-memories-and-ever-hold-them-close-to-her-heart.-alloy.mp3 exists\n",
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"../audios/goal-of-2.mp3 exists\n",
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"../audios/goal-of-4.mp3 exists\n",
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"../audios/network-us-male.mp3 exists\n",
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"../audios/city-us-male.mp3 exists\n",
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"61\n",
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"['Go-away-us-male', 'Do-all-us-male', 'I-am-us-female', 'a-bad-day-us-female', 'Was-he-hurt-us-female', 'city-us-female', 'partner-us-female', 'interview-us-male', 'Go-away-us-female', 'network-us-female', 'Dont-you-us-female', 'conversation-us-male', 'Throw-it-us-male', 'It-was-your-job-us-female', 'sentence-opinions-vary-nova', 'conversation-us-female', 'goal-of', 'stem-from-us-female', 'Do-it-us-male', 'sentence-it-done-nova', 'hard-nosed-us-male', 'comfort-us-female', 'a-bad-day-us-male', 'with-this-us-female', 'partner-us-male', 'Do-it-us-female', 'hotdog-us-female', 'She-is-us-male', 'Miss-you-so-much-us-female', 'sentence-opinions-vary-alloy', 'interview-us-female', 'goal-of-3', 'sentence-it-done-alloy', 'She-will-cherish-those-memories-and-ever-hold-them-close-to-her-heart.-nova', 'at-that-time-us-female', 'hard-nosed-us-female', 'comfort-us-male', 'Throw-it-us-female', 'I-am-us-male', 'goal-of-1', 'Was-he-hurt-us-male', 'Do-all-us-female', 'Would-you-us-male', 'hotdog-us-male', 'She-is-us-female', 'It-was-your-job-us-male', 'stem-from-us-male', 'with-this-us-male', 'She-will-cherish-those-memories-and-ever-hold-them-close-to-her-heart.-alloy', 'at-that-time-us-male', 'He-is-us-female', 'Dont-you-us-male', 'They-are-us-male', 'goal-of-2', 'goal-of-4', 'network-us-male', 'They-are-us-female', 'He-is-us-male', 'Would-you-us-female', 'Miss-you-so-much-us-male', 'city-us-male']\n"
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]
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}
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],
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"source": [
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"import os\n",
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"\n",
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"def readlines_from_file(filename):\n",
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" with open(filename, 'r') as f:\n",
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" return f.readlines()\n",
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"\n",
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"filename = \"../../sounds-of-american-english/4.4-linking.md\"\n",
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"\n",
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"lines = readlines_from_file(filename)\n",
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"mp3_file_paths = []\n",
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"for line in lines:\n",
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" if \".mp3\" in line:\n",
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" # extract all substring between 'audios/' and '.mp3'\n",
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" # there may be more than one substring in a line\n",
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" while 'audios/' in line:\n",
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" start = line.index('audios/') + len('audios/')\n",
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" end = line.index('.mp3')\n",
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" mp3_file_paths.append(line[start:end])\n",
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" line = line[end+4:]\n",
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"# remove duplicates in mp3_file_paths\n",
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"mp3_file_paths = list(set(mp3_file_paths))\n",
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"\n",
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"# copy f'../audios/us/{mp3_file_path}' to f'../audios/{mp3_file_path}' uisng os module\n",
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"for mp3_file_path in mp3_file_paths:\n",
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" # check if the file exists\n",
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" if os.path.exists(f'../audios/{mp3_file_path}.mp3'):\n",
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" print(f'../audios/{mp3_file_path}.mp3 exists')\n",
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" else:\n",
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" os.system(f'cp ../audios/us/{mp3_file_path}.mp3 ../audios/{mp3_file_path}.mp3')\n",
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"\n",
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" # print(f'cp ../audios/us/{mp3_file_path}.mp3 ../audios/{mp3_file_path}.mp3')\n",
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"\n",
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"\n",
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"print(len(mp3_file_paths))\n",
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"print(mp3_file_paths)\n"
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]
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}
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],
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"metadata": {
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"kernelspec": {
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"display_name": "base",
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"language": "python",
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"name": "python3"
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},
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"language_info": {
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"codemirror_mode": {
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"name": "ipython",
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"version": 3
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},
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"file_extension": ".py",
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"mimetype": "text/x-python",
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"name": "python",
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"nbconvert_exporter": "python",
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"pygments_lexer": "ipython3",
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"version": "3.12.2"
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}
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},
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"nbformat": 4,
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"nbformat_minor": 2
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}
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@@ -434,6 +434,8 @@
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| <span class="pho">ʷ</span> | 音节之间的加音 <span class="pho">w</span> |
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| <span class="pho">◌̅, ◌́, ◌̌, ◌̀</span> | 音节声调 |
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| <span class="pho">◌̂</span> | 音高被抬高的音节 |
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| <span class="pho">·</span> | 音节之间的停顿（*pause*） |
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| <span class="pho">｜</span> | 单词之间分割意群的暂停（*pause*） |
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[^1]: 教程内音标字体选用的是 *Charis SIL*，https://software.sil.org/charis/
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@@ -101,16 +101,16 @@
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单词的读音实际上都有两种形式：
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> * 强读式
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> * 弱读式
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> * 强读式（***accented** form*）
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> * 弱读式（***weak** form*）
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字典里的音标标注或者真人朗读示范，都是**强读式** 。
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字典里的音标标注或者真人朗读示范，都是**强读式**。任何单词，在单独说出的时候都是**强读式**。但，在自然语流之中，不是每个单词都是强读式，只有少数是**强读式**，更多是**弱读式**。
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比如 *our* 这个单词，词典里标注的当然是 <span class="pho alt">ˈaʊ.ɚ</span><span class="speak-word-inline" data-audio-us-male="/audios/hour-us-male.mp3" data-audio-us-female="/audios/hour-us-female.mp3"></span> —— 这是**强读式**，每一个单词的 “默认形式”。然而，在实际的自然语流中，你更多听到的并不是这个饱满的三元音 <span class="pho alt">ˈaʊ.ɚ</span> 而是它的**弱读式**，一个很轻很短的 <span class="pho alt">ɑr</span>：
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> It's *our* pleasure.<span class="pho alt">ˈaʊ.ɚ</span><span class="speak-word-inline" data-audio-us-male="/audios/Its-our-pleasure-us-male.mp3" data-audio-us-female="/audios/Its-our-pleasure-us-female.mp3"></span>
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关于**强读式**与**弱读式**的区别，得等到**音节**、**单词**、**意群**、**连接**全都讲清楚之后，到了**句子**那个章节再深入讲解。
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关于**强读式**与**弱读式**的区别，得等到[音节](4.1-syllables)、[单词](4.2-words)、[意群](4.3-grouping.md)、[连接](4.4-linking)全都讲清楚之后，到了[句子](4.5-sentences)那个章节再深入讲解。
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## 4.2.3. 词典读音
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@@ -19,7 +19,7 @@
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> * 弱读的词汇：The art *of* focus *in* *our* whirlwind existence *can* sometimes feel *like* searching *for* a needle *in* a haystack.
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> * 相对强读的词汇：The **art** of **focus** in our **whirlwind** existence can **sometimes** **feel** like **searching** for a **needle** in a **haystack**.
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这是一上来就需要调整（或者纠正）的习惯：
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这其实是一上来就需要调整（或者纠正）的习惯：
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> **不能像词典一样读句子里的每一个单词**。
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@@ -91,7 +91,7 @@
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## 4.5.2. 强读词汇
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事实上，在自然语流中，讲话者经常调整强读（强调）的词汇，用来表达不同的含义。试比较以下同一个句子的 4 个版本[^1]，在不同的版本里，被强读的词汇不同：
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事实上，在自然语流中，讲话者经常调整**强读**某些单词，目的是为了**强调**（emphasize），用来表达不同的含义。试比较以下同一个句子的 4 个版本[^1]，在不同的版本里，被强读的单词不同：
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> * **Marianna** made the **marmalade**.<span class="speak-word-inline" data-audio-us-female="/audios/marm1.wav"></span>
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> * **Marianna** made the marmalade.<span class="speak-word-inline" data-audio-us-female="/audios/marm2.wav"></span>
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@@ -112,26 +112,98 @@
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被**强读**的词汇之中，重音音节往往带着**声调** —— 升、降、平、降升。并且，少数重音音节会有被拔高的**音高**。这些都是自然语流的韵律中格外重要的组成部分，也是跟读模仿练习时的重点之一。
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## 4.5.3. 强弱带来的变化
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## 4.5.3. 强读式与弱读式的区别
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如果一个音节是重音或被**强读**，那么这个单词中的：
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如果一个单词被**强调**，即，读作**强读式**，那么这个单词中的：
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> * 长元音会被读的很清楚，并且足够长，甚至显得更长一些；
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> * 双元音会被读的很饱满，并且显得很有弹性；
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> * 落在重音上的短元音都会显得更长一些；
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> * 重音所在的音节可能带着不同的声调（平调、升调、降调、降升）……
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> * 重音所在的音节可能带着更高的音高（往往是 “高”、“中”、“低” 中的 “高”）……
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> * 重音所在的音节可能带着不同的**声调**（平调、升调、降调、降升调）……
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> * 重音所在的音节可能带着更高的**音高**（往往是 “高”、“中”、“低” 中的 “高”）……
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如果一个音节被**弱读**，那么这个单词中的：
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如果一个单词被**弱读**，那么这个单词中的：
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> * 长元音会变得短一些（几乎与短元音的长度相当）；
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> * 长元音会变短；
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> * 重音音节会变得与非重音音节一样轻；
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> * 很多元音都会发生变化，向 *schwa* <span class="pho">ə</span>靠拢；
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> * 很多与辅音相关的停顿会被直接省略；
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> * 清辅音 <span class="pho">s</span>、<span class="pho">t</span>、<span class="pho">k</span>、<span class="pho">f</span> 之后的元音 <span class="pho">ə</span> 可能会直接被省略掉；
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> * 清辅音 <span class="pho">s</span>、<span class="pho">t</span>、<span class="pho">k</span>、<span class="pho">f</span> 之后的央元音 <span class="pho">ə</span> 可能会直接被省略掉；
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> * 整个单词所处的音高往往是 “高”、“中”、“低” 之中的 “低”，最多是 “中”……
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其实，哪怕在单独读某一个单词的时候，其中元音的长短都会受到重音重读的影响。比如，*city* 这个单词，重音在第一个音节上，而两处的元音是一样的：<span class="pho alt">ˈsɪ-t̬ɪ</span>；但是只要你把第一个音节读得足够重，自然而然就能感觉到**第一个音节**只能比**第二个音节**更长。
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其实，哪怕在单独读某一个单词的时候，其中元音的长短都会受到重音重读的影响。比如，*city* 这个单词，重音在第一个音节上，而两处的元音是一样的：<span class="pho alt">ˈsɪ-t̬i</span>；但是只要你把第一个音节读得足够重，自然而然就能感觉到**第一个音节**只能比**第二个音节**更长。
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## 4.5.4. 音高变化
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当一个单词被强读的时候，这个单词的重音音节的元音可能会有更高的**音高**（*pitch*）—— 尤其是一个句子中**第一个被强读的单词**。
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过去，仅凭听力去识别音高（以及后面讲解的各种声调）对绝大多数人来说是完全不可能的。所以，语音的 “韵律”（*prosody*）一直是语言学家们认为极其重要，但学校里无论是老师还是教材都对其无能为力的东西。不过，现在我们可以借助计算机程序把这些过去只能靠听力识别的东西视觉化，进而清楚地 “看到” 它们。
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> 以下是一个之前听过的句子：Her *communication* skills are excellent, but her *communication* of the project details needs work.<span class="speak-word-inline" data-audio-us-male="/audios/Her-communication-skills-are-excellent-but-her-communication-of-the-project-details-needs-work-alloy.mp3"></span>
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<video controls width="720"> <source src="/videos/Her-communication-skills-are-excellent-but-her-communication-of-the-project-details-needs-work-alloy.mp4" type="video/mp4"></source>Your browser does not support the video tag. </video>
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|
||||
在 Enjoy App 中，我们可以看到一段音频的完整**波谱**（*waveform*，灰色波形）和**音高变化**（*pitch contour*，蓝色曲线）—— 我们可以 “看到” 第一个 *com**mu**nication* <span class="pho alt">kəˌmjûː.nəˈkeɪ.ʃən</span>的音高最高，具体体现在它的**重音音节**，<span class="pho alt">ˌmjûː</span> 上，再具体一点，是这个音节的核心，即，它的元音，<span class="pho alt">jûː</span> 上。
|
||||
|
||||
> [!Note]
|
||||
>
|
||||
> *com**mu**nication* <span class="pho alt">kəˌmjûː.nəˈkeɪ.ʃən</span>，这里的 <span class="pho">◌̂</span> 是我们的自定义符号，用来表示 “那一个音节的**音高**被拔高了”。
|
||||
|
||||
事实上，每句话里常常只有一处，或者最多两处（长句），会出现 “音高被拔高的现象”。
|
||||
|
||||
## 4.5.5. 声调变化
|
||||
|
||||
把中文当作外语学习的时候，最麻烦的一件事是学习中文每个字的声调，一二三四声以及轻声。<span class="pho">ma</span> 这个音，可以有 <span class="pho">mā, má, mǎ, mà</span> 以及 <span class="pho">ma</span>。更令人格外头痛的是：同一个音的不同声调会代表不同的含义。
|
||||
|
||||
英文的音节不仅没有指定的声调，并且，声调的变化也不影响音节的含义。一般来说，声调主要在**重音音节**上有所体现。偶尔，在**句末**或者**意群末**的最后一个**非重音音节**也可能带着声调 —— 这时一般只有**平调**。
|
||||
|
||||
> [!Note]
|
||||
> 我们将不得不使用一些自定义符号：<span class="pho">◌̂</span> 表示**音高被拔高**，<span class="pho">◌̅</span>, <span class="pho">◌́</span>, <span class="pho">◌̀</span> 分别表示**平调**、**升调**、**降调**。
|
||||
|
||||
理论上，**重音音节**都可以有最常见的三种声调的读法，**平调**、**升调**、**降调**。比如 *big* <span class="pho alt">bɪɡ</span> ⭢ <span class="pho alt">bɪ̅ɡ</span>，<span class="pho alt">bɪ́ɡ</span>，<span class="pho alt">bɪ̀ɡ</span>； *fact* <span class="pho alt">fækt</span> ⭢ <span class="pho alt">fæ̅kt</span>，<span class="pho alt">fǽkt</span>，<span class="pho alt">fæ̀kt</span>…… 而**非重音音节**只有**轻声**（也不需要什么自定义符号标记）。
|
||||
|
||||
偶尔，你也会听到一些人会使用**降升调**，一般是在**双元音**上，因为双元音实际上可以被拆分成两个元音…… 比如，*sure* <span class="pho alt">ʃʊr</span> ⭢ <span class="pho alt">ʃʊər</span> ⭢ <span class="pho alt">ʃʊ̀ə́r</span>, *idea* <span class="pho alt">aɪˈdiː.ə</span> ⭢ <span class="pho alt">àɪ́ˈdiː.ə</span>。**降升调**也可能出现在相邻的两个音节上，前一个音节降调，后一个音节升调，于是听起来像是 “降声调”，再比如，*progress* <span class="pho alt">ˈprɑː.ɡres</span> ⭢ <span class="pho alt">ˈprɑ̀ː.ɡrés</span>
|
||||
注意：如果**短元音**的音节用**平调**读出来，会自然而然地有所**拉长**。
|
||||
|
||||
声调（*intonation*）和音高（*pitch*）也常常配合使用。
|
||||
|
||||
> * **重音音节**用更高**音调**（<span class="pho">◌̂</span>）
|
||||
> * *component* <span class="pho alt">kəmˈpoʊ.nənt</span> ⭢ <span class="pho alt">kəmˈpôʊ.nənt</span>
|
||||
> * *condition*, <span class="pho alt">kənˈdɪʃ.ən</span> ⭢ <span class="pho alt">kənˈdɪ̂ʃ.ən</span>
|
||||
> 在这种情况下，最后一个音节只能继续**轻声**读出来……
|
||||
> * **重音音节**用**降调**（<span class="pho">◌̀</span>）
|
||||
> * *component*, <span class="pho alt">kəmˈpoʊ.nənt</span> ⭢ <span class="pho alt">kəmˈpòʊ.nə̅nt</span> ⭢ <span class="pho alt">kəmˈpòʊ.nə́nt</span> ⭢ <span class="pho alt">kəmˈpòʊ.nənt</span>
|
||||
> * *condition*, <span class="pho alt">kənˈdɪʃ.ən</span> ⭢ <span class="pho alt">kənˈdɪ̀ʃ.ə̅n</span> ⭢ <span class="pho alt">kənˈdɪ̀ʃ.ə́n</span> ⭢ <span class="pho alt">kənˈdɪ̀ʃ.ən</span>
|
||||
> 由于倒数第二个音节是**重音**，声调在那里已经明显**完成**，所以，随后的最后一个音节只需要**轻声**读出来就可以了。
|
||||
|
||||
含有重音的多音节单词读的时候就是相对更为吃力。在日常对话中，人们为了方便会下意识地尽量避免使用多音节单词。在口语中更多且又自然地使用含有重音的多音节单词，多多少少是多年教育的结果 —— 在学校里朗读背诵了更多的内容。
|
||||
|
||||
> [!Tip]
|
||||
> 这是很多人学英语从未养成的习惯（主要是因为从来不可以训练语音）：
|
||||
> > 在学一个新的英语词汇的时候，**要分别用几个声调各自读很多遍**……
|
||||
|
||||
过去，外语教学（无论是教材还是课堂讲解）关于声调（*intonation*）都只能局限在最简单最表象的层面 —— “整句话的升降调”。比如，疑问句用升调，陈述句用降调…… 基本上到此为止。
|
||||
|
||||
事实上，自然语流的 “韵律”（*prosody*）同样也体现在**音节**上 —— 准确地讲，主要是体现在 “句子中被**强读**的单词的**重音音节**” 上…… 只不过，在没有计算机辅助的情况下，哪怕是母语使用者也无法逐一分辨 —— 事实上，很多人连自己语音的每个音节声调究竟是如何控制的都无法说清楚。
|
||||
|
||||
在 Enjoy 中，随时可以点击某个词汇，去看那个词汇的波谱和音高变化，可以细分到音节 —— 所以，可以 “肉眼分辨” 某个**音节的声调**，到底是平、升、降的哪一种。
|
||||
|
||||
|
||||
|
||||
## 4.5.6. 语速
|
||||
|
||||
正如我们之前讲过 “不能像词典一样读句子里的每一个单词” 一样，我们也
|
||||
|
||||
> **不能以完全相同的速度读每一个单词或者音节**。
|
||||
|
||||
自然语音的**韵律**（prosody），包括**停顿**（[pause](4.3-grouping#_4-2-2-停-暂停-pause) or [stop](4.3-grouping#_4-2-3-顿-停顿-stop)）与**高低**（[pitch](4.5-sentences#_4-5-4-音高变化)）、**起伏**（[intonation](4.5-sentences#_4-5-5-声调变化)）、**轻重**（[accented](4.5-sentences#_4-5-2-强读词汇) or [weak](4.5-sentences#_4-5-1-弱读词汇)）、**缓急**（fast or slow）。
|
||||
|
||||
一个句子里有很多个单词，但有些单词说出来的**速度往往并不相同** —— 也不可能相同。还是这句话，不妨重新听：
|
||||
|
||||
> Her communication skills are excellent, but her communication of the project details needs work.<span class="speak-word-inline" data-audio-us-male="/audios/Her-communication-skills-are-excellent-but-her-communication-of-the-project-details-needs-work-alloy.mp3"></span>
|
||||
|
||||
反复听几遍就知道了，"*but her communication of the project* **details**" 这个意群里，只有 *details* 这个词放缓了，被强读了，<span class="pho alt">dɪ̅ˈte̅ɪlz</span>，第一个音节甚至都被拉长了（毕竟是平调），但，前面的 "*but her communication of the project*"，每个词，每个音节都读得很快，都被弱读了，乃至于 *communication* <span class="pho alt">kəˌmjuː.nəˈkeɪ.ʃən</span> 里的长元音、双元音都很短，弱化，甚至，感觉上都变成了 <span class="pho alt">kə.məː.nə.kɤ.ʃən</span>…… 其中有不少需要注意的细节，含有很多**音变**（可能需要反复参照[音素详解](3-details)中的内容）。
|
||||
|
||||
|
||||
[^1] 这个例子来自于 [Macquarie University](https://www.mq.edu.au/about/about-the-university/our-faculties/medicine-and-health-sciences/departments-and-centres/department-of-linguistics/our-research/phonetics-and-phonology/speech/phonetics-and-phonology/Intonation-tobi-introduction)
|
||||
[^2] 这个例子来自于 *Manual of American English Pronunciation*, 4th edition, by Clifford H. Prator, Jr. BettyWallaceRobinett, 1972
|
||||
|
||||
5
1000-hours/sounds-of-american-english/5-above-ground.md
Normal file
5
1000-hours/sounds-of-american-english/5-above-ground.md
Normal file
@@ -0,0 +1,5 @@
|
||||
# 3. 收官（Wrapping up）
|
||||
|
||||
最后，还有一些需要注意的地方，可能更为重要 —— 其障碍竟然往往来自主观感受，而非客观事实。
|
||||
|
||||
Finally, there's something more crucial to keep in mind - the obstacles we face often stem from our own subjective perceptions, rather than objective facts.
|
||||
140
1000-hours/sounds-of-american-english/5.1-fluency.md
Normal file
140
1000-hours/sounds-of-american-english/5.1-fluency.md
Normal file
@@ -0,0 +1,140 @@
|
||||
# 3.1 流利（Fluency）
|
||||
|
||||
学习另外一种语言，总是要处理很多与母语**不一样**的细节。
|
||||
|
||||
Learning another language always involves navigating a myriad of details that differ from native tongue.
|
||||
|
||||
> **凡是和母语发声方式不一样的地方，都是语音塑造的重点**。
|
||||
>
|
||||
> **Any differences in pronunciation from your native language should be the focus of speech training**.
|
||||
|
||||
在语音中，最重要且最普遍被忽视的**差异**是：
|
||||
|
||||
One of the most important and often overlooked *differences* is:
|
||||
|
||||
> 英文的**音节**在**绝大多数情况下**读出来都比亚洲语言的**字**要**长**许多……
|
||||
>
|
||||
> English syllables, in most cases, are pronounced *much longer* than the individual characters in Asian languages...
|
||||
|
||||
首先，英文的元音有长短之分，除了 *6* 个基础元音 <span class="pho">ʌ</span>、<span class="pho">e</span>、<span class="pho">ə</span>、<span class="pho">ɪ</span>、<span class="pho">ʊ</span>、<span class="pho">ɒ</span> 是短元音之外，剩下的十几个都是**相对更长**的元音；而亚洲语言的元音都是等长的。
|
||||
|
||||
Firstly, English vowels have variations in length. Aside from the *6* basic short vowels <span class="pho">ʌ</span>, <span class="pho">e</span>, <span class="pho">ə</span>, <span class="pho">ɪ</span>, <span class="pho">ʊ</span>, and <span class="pho">ɒ</span>, the remaining more than dozen vowels are relatively longer. In contrast, vowels in Asian languages are all of equal length.
|
||||
|
||||
除此之外，在英文中，当一个短元音处于重音音节的时候，会出现因强调而发生的短元音变长的情况。比如，你可以试着说一下 *This is a **big** **city**!* —— 为了强调 *big*，你会不由自主地将它读成长长的 <span class="pho alt">biːg</span>，而不是 <span class="pho alt">bɪg</span>，如果强调 *city*，它的第一个 <span class="pho alt">sɪ</span> 也会稍微变长一点点（你可以把 <span class="pho">s</span> 拉长）……
|
||||
|
||||
In English, a short vowel in a stressed syllable can *elongate* when emphasized. For example, try saying, *This is a **big** **city**!* You'll notice that to emphasize *big*, you naturally stretch it into a long-sounding <span class="pho alt">biːg</span>, instead of the short <span class="pho alt">bɪg</span>. If you stress *city*, the first <span class="pho alt">sɪ</span> will also lengthen slightly - you can stretch the <span class="pho">s</span> sound.
|
||||
|
||||
而英文的音节构成也相对更为复杂，元音前有可能是两个辅音。亚洲语言的**音节**（字）几乎没有两个辅音作为开头的情况，在英文中这种情况却非常普遍。亚洲语言的音节同样没有两三个辅音作为结尾并且还要发声清晰的情况，在英文中这种情况同样非常普遍。每个辅音都要发声清晰的话，就会占用一定的时长。比如，*flexed*, <span class="pho alt">flekst</span>，虽然整体上只是一个音节（<span class="pho">ccvccc</span> 的结构），可即便这个音节中的元音 <span class="pho">e</span> 是短元音，整体发声时它也比任何一个亚洲语言中的 “字”（同样是一个音节）都长。
|
||||
|
||||
English syllables can also be more complex, often with two consonants in the beginning of a vowel. This contrasts with Asian languages, where syllables (or *characters*) rarely start with two consonants. Similarly, English often ends syllables with two or three clear-sounding consonants, while this is less common in Asian languages. Each consonant requires a certain amount of time to articulate clearly. For example, the word *flexed*, pronounced <span class="pho alt">flekst</span>, although technically one syllable (<span class="pho">ccvccc</span> structure), takes longer to say than any single syllable (or *character*) in an Asian language, even though the vowel <span class="pho">e</span> in *flexed* is short.
|
||||
|
||||
平均来看，英文的音节中**辅音数量**可能是亚洲语言的**两三倍以上** —— 这造成的结果就是，说英文的时候，舌头比说其他语言的时候相对要忙太多…… 并且，因此英文单个音节的发声时长也相对更长 —— 不是长一点点，而是长很多。
|
||||
|
||||
On average, the number of consonants in English syllables is likely more than double that of Asian languages. This means that speaking English requires our tongues to be busier than when speaking in most other languages. Moreover, this causes each English syllable to be pronounced in a relatively longer duration - not just a bit longer, but *significantly* longer.
|
||||
|
||||
音节上的长短差异会造成语音在韵律和节奏上的巨大差异。
|
||||
|
||||
The difference in syllable length can lead to a significant difference in speech prosody and rhythm.
|
||||
|
||||
若是忽视了这一点，那么，在节奏韵律上的巨大差异会形成一个无法逾越的障碍。很多人压根就不知道这里有一个巨大的障碍，于是，从来就没有可能跨越它 —— 请问，你如何跨越一个你不知其存在的障碍呢？
|
||||
|
||||
If this is overlooked, the resulting significant difference in prosody and rhythm can become an insurmountable barrier. Many people are oblivious to this huge obstacle, hence, they never get the chance to overcome it. After all, how can you overcome a barrier you don't even know exists?
|
||||
|
||||
还有另外一个比较隐蔽的却也同样重要的差异：
|
||||
|
||||
There's another less noticeable yet equally crucial difference:
|
||||
|
||||
> 英语的自然语音中有大量的**塞音**存在于音节之间。这些音我们虽然听不到，也看不到发声器官的动作，但这些动作却是完整完成的 —— 也就是说，它们也是占用时长的。
|
||||
>
|
||||
> In natural English speech, there are numerous *stop* sounds interspersed between syllables. We may not hear these sounds or see the articulator in action, but the actions are fully completed, meaning they also take up time.
|
||||
|
||||
还没有完…… 记得吗？两个元音直接连在一起的时候，还有可能存在**加音**（<span class="pho">ʲ/ʷ</span>），以及很常见的 <span class="pho">l</span> 之前的加音 <span class="pho">ᵊ</span>……
|
||||
|
||||
And there's more... remember? When two vowels are connected, there might also be a **glide sound** (<span class="pho">ʲ/ʷ</span>), and that common schwa <span class="pho">ᵊ</span> added before <span class="pho">l</span>...
|
||||
|
||||
所有这些细节加在一起，造成了一个格外普遍的现象：
|
||||
|
||||
All these nuances combined result in a particularly common phenomenon:
|
||||
|
||||
> **亚洲人讲英文的时候速度都过快……**
|
||||
>
|
||||
> **Asian people often speak English too quickly...**
|
||||
|
||||
常常把**长元音**和**双元音**，以及美式英语特有的**半长元音**读成更短的版本（尤其是 <span class="pho">æ</span>），很多**辅音**没有清楚地发音，很多实际存在的微妙**停顿**（比如**塞音**）全都忽略，甚至可能在某些辅音之后插入了原本**不存在的元音**，但是，反过来常见的**加音**却实际上缺席……
|
||||
|
||||
Asian speakers often shorten long vowels and diphthongs, as well as the unique half-long vowels in American English, especially the <span class="pho">æ</span> sound. Many consonants aren't clearly pronounced, and subtle stops that should be there are often overlooked. Sometimes, vowels are added where they don't exist, yet, ironically, added sounds that should be present are often missing.
|
||||
|
||||
整体结果就是，同样一句话，亚洲人总是能够做到更快、很快、甚至太快地讲完。可问题在于，从理解的角度来看，在英文母语使用者耳中，几乎所有的韵律和节奏全都是错的。用错误的韵律节奏，讲的速度越快，就越难以被理解。
|
||||
|
||||
The result is that Asians tend to speak English much faster than native speakers. The problem, however, is that from a comprehension standpoint, the prosody and rhythm are all wrong to native English ears. The faster you speak with incorrect prosody and rhythm, the harder it becomes to understand.
|
||||
|
||||
还没有完……
|
||||
|
||||
The story doesn't end there...
|
||||
|
||||
另外一个影响初学者讲英文时语速不正常地快的原因，更微妙，来自于一种基于普遍误解的心理压力。在这一点上，全世界的人都一样，当人们听到自己听不懂的另外一种语言的时候，总是**误以为**对方**说话速度很快**。
|
||||
|
||||
Another subtle factor that often makes beginners speak English unnaturally fast originates from a psychological pressure based on a widespread misunderstanding. This is a universal experience: when people hear a language they do not understand, they often *mistakenly believe* that the speaker is *talking too fast*.
|
||||
|
||||
可这就是因误解而生的幻觉。之所以幻觉对方语速快，是因为自己听不懂。听母语的时候，大脑甚至可以以句子为单位处理信息，可突然之间，要退回到音节级别，又因为那声音里充满了自己并不习惯甚至没听过的音素，不习惯的韵律和节奏，当然需要更多的精力…… 听不懂，当然记不住。于是，大脑更不够用，更是误以为对方说话太快。
|
||||
|
||||
However, this perception is nothing but an illusion born out of misunderstanding. The reason we perceive foreign speakers as speaking quickly is simply because we don't understand what they're saying. When we listen to our native language, our brain can process information on the sentence level. Suddenly, when faced with a foreign language, we're thrust back to the syllable level. With unfamiliar phonemes, prosody and rhythms, we, of course, need more mental effort... If we don't understand, we certainly can't remember. As a result, our brains struggle more, enhancing this illusion of rapid speech.
|
||||
|
||||
其实，全世界的人在说话的时候，不管使用任何语言都一样，都会不由自主地**划分意群**，下意识地**选择轻重**，并且都会有意无意地**适当停顿**，不仅是在句子之间，句子之内也有。
|
||||
|
||||
In reality, all speakers, regardless of the language they're using, instinctively chunk phrases, choose stress levels subconsciously, and take deliberate pauses. These pauses are not only between sentences but also within them.
|
||||
|
||||
可是，突然之间，只是因为听不懂、记不住，大脑就像一台同时运行了太多软件的电脑， CPU 过热，内存溢出，恨不得当场死机。于是，不知不觉之间产生了幻觉，就是觉得对方说话快，即便对方正在以再正常不过的语速讲话。
|
||||
|
||||
But then, all of a sudden, just because you can't understand or remember, your brain starts working like a computer running too many apps at once. The CPU overheats, memory overflows, and it feels like it's about to crash right there and then. Without realizing it, you start to imagine that the other person is speaking too quickly, even though they're speaking at a perfectly normal pace.
|
||||
|
||||
基于上面这个普遍误解的下一个误解，同样微妙，人们常常误以为**语速够快**就能构成**讲得足够流利**。其实，**流利**的构成与**语速快慢**几乎全无关系。是否流利**更多是发音是否正确，措辞是否准确，句法和用法是否符合习惯，逻辑是否顺畅，等等等等 —— 以及，很多人可能并未意识到的另外一个很重要的东西，叫做**节奏**。
|
||||
|
||||
Building on the common misconception mentioned above, there's another subtle misperception often held: people tend to equate *speaking fast* with *being fluent*. In reality, *fluency* has almost nothing to do with *the speed of speech*. True fluency hinges on accurate pronunciation, precise choice of words, adherence to customary syntax and usage, smooth logical presentation, and so on. What's more, something many people may not fully realize is the crucial role *rhythm* plays in fluent speech.
|
||||
|
||||
所以，刚开始的时候，**要刻意放慢自己的语速**。记住，流利不靠语速，起码不只靠语速。语速过快，容易出错，越快出错越多。再说，流利也不是一上来就需要追求的东西，速度更不是。
|
||||
|
||||
So, in the beginning, it's crucial to *deliberately slow down your pace of speech*. Bear in mind, fluency doesn't depend solely on the speed of speech. Speaking too quickly can lead to mistakes, and the faster you speak, the more errors you're likely to make. Besides, fluency isn't something you need to aim for right off the bat, and speed is even less so.
|
||||
|
||||
好莱坞动作明星阿诺德·施瓦辛格口音很重但表达清楚且流利 —— 这是怎么回事呢？一般来说，决定一个人讲话**流利与否**的因素，从听众角度出发，如果能够按照重要性排列的话，大抵应该如下：
|
||||
|
||||
Consider Hollywood action star Arnold Schwarzenegger. His accent is heavy, but he communicates clearly and fluently - how can this be? Generally, the factors that determine whether a person's speech is *fluent or not* can be lined up in terms of importance from the audience's perspective, roughly as follows:
|
||||
|
||||
> - **语意完整**
|
||||
> - **Complete in meaning**
|
||||
> - **上下文足够丰富**
|
||||
> - **Rich in context**
|
||||
> - **符合习惯**
|
||||
> - **Conforms to common usage**
|
||||
> - **逻辑清晰**
|
||||
> - **Clear in logic**
|
||||
> - **语法正确**
|
||||
> - **Correct in grammar**
|
||||
> - **措辞准确**
|
||||
> - **Accurate in wording**
|
||||
> - **发音**
|
||||
> - **Pronunciation**
|
||||
> > - 节奏
|
||||
> > - Rhythm
|
||||
> > - 停顿
|
||||
> > - Stop
|
||||
> > - 轻重
|
||||
> > - Emphasis
|
||||
> > - 缓急
|
||||
> > - Pace
|
||||
> > - 韵律
|
||||
> > - Prosody
|
||||
> > - 高低
|
||||
> > - Pitch
|
||||
> > - 起伏
|
||||
> > - Tone
|
||||
> > - 音素
|
||||
> > - Phonemes
|
||||
> > - 元音
|
||||
> > - Vowels
|
||||
> > - 辅音
|
||||
> > - Consonants
|
||||
|
||||
即便是到了相对最不重要的**音素**层面，也有重要性上的先后顺序，**元音比辅音更重要**。然而，绝大多数人在整个练习过程中，在最不重要的层面上就被卡住了…… 越是重要的越没机会练习，越是重要的，越没能力去关注 —— 这才是失败的关键吧？
|
||||
|
||||
Even at the seemingly least important level of phonemes, there's a hierarchy of importance: *vowels are more critical than consonants*. However, most people get stuck at this least significant level during their practice... The more crucial something is, the less opportunity they have to practice it, the less capacity they have to focus on it. Isn't this the real crux of failure?
|
||||
33
1000-hours/sounds-of-american-english/5.2-emotions.md
Normal file
33
1000-hours/sounds-of-american-english/5.2-emotions.md
Normal file
@@ -0,0 +1,33 @@
|
||||
# 3.2 情绪（Emotions）
|
||||
|
||||
学习语音的唯一有效方法只有模仿。在模仿的时候，最难模仿的，其实并不是我们已经讲解过的各种重点…… 还有一个可能无法模仿的，和另外一个其实可以模仿的。
|
||||
|
||||
The only effective way to learn speech is by *imitation*. The most challenging part of this process isn't necessarily the key points we've previously discussed... There are two things that may come to mind: one that might be impossible to mimic, and another that could actually be copied.
|
||||
|
||||
可能无法模仿的是对方的**音质**，因为到最后，每个人的声音都不一样，声线、音域、音量都不一样…… 通常来说，除非是模仿能力特别强的人，才能做到发出和别人同样音质的声音 —— 虽然不是谁都做不到，但，这个要求多少的确有点过份……
|
||||
|
||||
The thing that might be impossible to mimic is someone else's *voice quality*. In the end, each person's voice is unique - the pitch, range, and volume all differ. Usually, only those with a particularly strong ability to imitate can perfectly replicate the voice quality of another. While not impossible, this expectation can indeed be a bit excessive.
|
||||
|
||||
然而，的确有确实可以模仿的 —— **情绪**。紧张、兴奋、疲惫、失望、恐惧、悲伤、快乐、期待，等等等等。就算不能模仿得一模一样，终归能按照自己的方式去表现同样的情绪 —— 瞬间就能做到八九不离十。
|
||||
|
||||
However, there is something that can certainly be mimicked - *emotions*. Be it nervousness, excitement, fatigue, disappointment, fear, sadness, joy, anticipation, and so on. Even if you can't mimic these emotions identically, you can certainly express the same feelings in your own way - and instantly get pretty close to the mark.
|
||||
|
||||
用 AI 生成的真人语音，最大的问题在于，它目前还不能做到**情绪饱满**，它只是尽量做到了 “听起来像是真人说话”，虽然已经很好，但就是缺乏情绪表达 —— 它也的确没有什么真正的情绪……
|
||||
|
||||
The biggest issue with AI-generated human voices is that they currently lack emotional depth. They strive to *sound like a human speaking* and while they do this well, they fall short in conveying emotion - which is understandable, as they don't genuinely feel any emotions.
|
||||
|
||||
各种惊悚片动作片都很精彩，很吸引人…… 可实际上它们真的不是最好的学习材料，因为这类影视内容的对话事实上非常枯燥，警匪片里最常重复的，只不过是 *Freeze! Drop your gun!* 要么就是 *You have the right to remain silent*... 战争片里最常重复的更加迷离，反反复复最多的都是 *Get down!* 或者 *Go! Go! Go!* —— 动作太多，语言就只能太少。至于情绪么，往往更多的只有愤怒或者悲伤。
|
||||
|
||||
Action movies or thrillers may be captivating, but they are not the best study materials. The dialogues in these movies can be quite dry. Police dramas seem to endlessly repeat phrases like *Freeze! Drop your gun!* or *You have the right to remain silent*. In war movies, you'll frequently hear *Get down!* or *Go! Go! Go!* The abundance of action scenes leaves little room for language. As for emotions, only expressions of anger and sadness tend to dominate.
|
||||
|
||||
这就是为什么**生活情景剧**和**脱口秀**常常是很好的学习材料的重要原因 —— 主要是情绪丰富且饱满。另外，**纪录片**往往都是很好的学习材料。它们的特点是，措辞简单明了，语速慢，吐字清晰，并且情绪饱满。情绪更加饱满的，是各种给青少年甚至婴幼儿看的动画片或者绘本讲解，情绪丰富饱满到夸张的地步……
|
||||
|
||||
That's why *sitcoms* and *talk shows* often make great learning resources. They are rich in emotional content. *Documentaries* can also serve as excellent study materials, which feature simple and clear wording, slow speech, clear articulation, and full emotions. Even more emotionally expressive are *shows and storybooks for teenagers and toddlers*, where emotions are exaggerated to the extreme.
|
||||
|
||||
如果觉得这些都太尴尬，还有个办法是不断学唱**英文歌曲** —— 每个音节都带着不同的音高曲调，甚至有可能一个词就唱了满满一两个小节，容不得一丝的错误，真的是绝佳的练习场景。
|
||||
|
||||
If you find these a bit awkward, another approach is to continuously learn English *songs*. Each syllable carries a different tone or melody, and a single word could fill a couple of bars, leaving no room for errors. It's indeed an excellent practice setting.
|
||||
|
||||
语音的功用，如果说有 *20%* 是用来传递对事实的感受的话，那么，剩下的 *80%* 肯定并且只能用来传递情绪，不是吗？一直以来，大家在 “学外语” 的时候，都太理智了，不是吗？理智的确是一种很好的品质，但，有时候，它可能会成为不可逾越的障碍…… 真的很可惜！
|
||||
|
||||
If we say that *20%* of voice utility is for conveying feelings towards *facts*, then the remaining *80%* must be intended to express *emotions*, right? Perhaps we've been too logical when learning foreign languages, haven't we? While rationality is a good trait, it can sometimes turn into an insurmountable hurdle... which is truly a pity!
|
||||
Reference in New Issue
Block a user