Moscow State University of Printing. The harmony of speech

It suggests the most perfect combination of sounds from the point of view of speakers of a given language, convenient for pronunciation and pleasant to hear. The harmony requirements must be consistent with phonetic features  specific language. The division of languages \u200b\u200binto “harmonious” and “dissonant” is devoid of a scientific basis and is usually associated with subjective assessments. The harmony is always due to the peculiarity of the phonetics of this national language. Everything that is not peculiar to the language that goes beyond

For example, harmonies unusual in a Russian person in words such as The Beatles, Hijra, Niskouori, Papaioannuseem dissonant.

Each national language has its own unique individual phonetic system, which is the most convenient for speakers of this language. For a Russian person, for example, the Pushkin line is harmonious. At the seashore green oak; there are no unpronounceable combinations of sounds, short words alternate with long ones, the intonation is harmonic, smooth. Disagreeable, for example, these lines: Suddenly saddened by a friend: he will soon / again meet the enemy. Stringing words with dissonant combinations vdr, vgr, vsk, vstr  makes it difficult to pronounce; unjustified repetition of the same sounds (y, c, p), as well as similar (d - t, s - s), is intrusive and unpleasant; the pause caused by the hyphenation after the first line deprives speech of smoothness.

The most natural sound of Russian speech is achieved by the alternation of consonants and vowels and the insignificant use of consonant combinations, i.e. combinations of several consonants. In our phonetic system, consonant combinations are often binomial ( dr ug, br at), sometimes trinomial (explosion, formation); a combination of four or more consonants, which may appear at the junction of two words, violates the harmony of speech (competition rS adult donkeys ...) More M.V. Lomonosov, speaking about the sound organization of speech, recommended “to protect the indecent hearing of the nasty confluence of consonants, for example: all senses look is nobler"for six consonants, put next to each other - vstv-vz, the language is very stumbling."

To create harmony, it is important how many sounds are included in the consonant combination, what sounds they are, what their sequence is, at the beginning, in the middle or at the end of the word they are located, “In order to precisely establish the laws of the combination of sounds in modern Russian, we are obliged to consistently distinguish between two cases : 1) a combination is phonetically impossible, it was banned by a living, now valid law, there is no such combination in modern Russian words; 2) a combination is phonetically possible, i.e. "it is not prohibited by the laws of the compatibility of sounds in modern Russian, but it is represented only in one, two, or even not at all represented in real Russian words." Combinations of the second type are of stylistic interest.

In Russian vocabulary, as a rule, a combination of consonants obeys the laws of harmony. But there are also dissonant words in the language in which the consonants are larger than the average norm or their usual sequence is violated ( screech out, screech out, shake off, stumble, stumble, shake, shake, bend, blast, shake).

Common in Russian are combinations of two consonants at the beginning and middle of a word ( good luck, good oar, good), but moving them to the end of the word makes articulation difficult (until br round) The appearance of escaped vowels between such consonants returns the euphoria (cf. sn a - springs, interesting - interesting) Such combinations of sounds as tl, zl are more often found at the beginning and middle of words and very rarely at the end ( evil, knots, woodpecker, wand, broom).

A study of the sound side of Russian vocabulary makes it possible to single out rare forms ending in a concourse of consonants: short adjectives (th rstv, dull), forms of the genitive case of the plural of nouns (without gst, virtues, acquaintances, goodies) However, most of these word forms in live speech are either not used at all, or are rarely used.

In Russian, consonant combinations prevail built in accordance with the law of ascending sonority of a syllable, i.e. noisy consonant (deaf or voiced) plus sonorous ( gr, dr, cl, pl, cm, zn, zl) Atypical words such as pretzel, ice cream, as in them sonorous precede noisy. When calculating the 100,000 sounds of the Russian language, the combination of ol occurred 411 times, and the combination of rp, i.e. combination with descending sonority only twice. The same pattern can be seen when using other consonant combinations. Some complexes of consonants (such as VRZh, mkrch) seem unpronounceable to Russian people, although they are quite common in other languages \u200b\u200b(compare non-Russian surnames Wrecker, Archer, Mkrtchyan, Circus, Vlk, Grzimek  and etc.).

The Russian language is characterized by a tendency to reduce consonant combinations in speech. So, when a concordance of consonants of similar quality is achieved, one of them in oral speech falls out (pos. yes, well-known, giant, silent) To avoid the accumulation of consonants, if the word begins with a consonant combination, the use of prepositional options helps: to - to, with - to, to - to, about - about - about, under - under, above - it is necessary  etc. (Wed: about it - about everything, to him - to everyone) When consonants merge in oral speech, a syllable vowel appears ( Alexander ə r, Minister ə r, October ə rsky, howlə l sleepə m, the diseaseə ny

) Sounds in combination with consonants at the end of a word in poetic speech often become syllable.

There is an opinion that the more vowels in a speech, the more harmonious it is. This is not true. The harmony is supported by the most characteristic for the language correlation in the text of vowels and consonants. In Russian speech, vowels averaged 42.35%, consonants 53.53%, sound d - 4.12%. Vowels give rise to harmony only in combination with consonants, but the confluence of several vowels, or gaping, distorts the sound structure of Russian speech, complicates articulation (recall the word euya coined by V. Khlebnikov). Yawning can be internal - when several vowels stand side by side in one word (glad ou zel, punctuation, ay dioesthesia), and external - when a combination of vowels appears when words are combined (in Tan and u oh) Dissonance usually occurs with an external gap. (Even Lomonosov cited the phrase as an example of poor sound organization of speech cry pitifully about the past and the humbling of his friend.)

The laws of harmony in the language cause phonetic changes in borrowed words. So, the Greek names John, Theodore, in the Russian language began to sound like Ivan, Fedor, the French bivouac turned into a bivouac.

Inconsistent combinations of consonants and vowels occur in speech, usually when words are combined. Consequently, one can avoid dissonance by subordinating the phonetic organization of speech to the laws of the combination of sounds.

The concept of harmony is also associated with an aesthetic assessment of speech sounds. Even in the era of ancient antiquity it was considered an unpleasant, dissonant sound “sigma”, the repetition of this consonant in speech was not encouraged, so the ancient poets tried not to use words with “sigma”. Emotional attitude  Russian poets, striving for "sweet-eyed", the beauty of the sound of speech, are also characteristic of speech sounds. “... What the hell are you? What the cabbage soup, cabbage soup, cabbage soup, at, tr? Oh, barbarians! ”Exclaimed K.N. Batyushkov. In the new, Soviet era, V.V. Mayakovsky, speaking out against “smooth writing”, defended sharp, rude sounds: “There are still good letters: er, sha, schA! ”In this“ controversy ”a different aesthetic assessment of sounds was reflected.

About artistic inequality various sounds  prose writers also speak, noting the dissonance of hissing and whistling sounds. Gorky advised young writers to avoid hissing sound combinations lice, lice, lice, cabbage soup, cabbage soup, do not allow the whistling and hissing sounds to repeat if they are not onomatopoeic.

An aesthetic assessment of sounds, of course, can also bear the imprint of subjective perception. However, studies conducted in recent years convince us that the emotional coloring of sounds is perceived equally speaking the same language. A “foggy halo” around the sign shell creates a phonetic dependence. This is a very vague aspect of knowledge that we hardly notice, and only in some words do we feel the “pressure” of the sound on the meaning ( grunt, mumble, balalaika, burdock, harp, lily ).

Communities seem to us disreputable dragging, grinding, wincing, scrubbing  etc. We try not to use such forms as skinny (from skinny), puny, etc. On the contrary, “musical” sounds - vowels, sonorous, voiced consonants (which, in relation to “voiceless”, that is, noisy deaf, account for 74.5%) - give speech a melody, a beautiful sound. Sono consonants in Russian often start a word or face a stressed vowel ( rose, early, sea, cute, boat, swan, bliss, cornfield  and under.), defining the sound of speech.

The requirement of the harmony of speech is not only a requirement of poetic taste, but also one of the requirements of the culture of speech as the science of the most successful and appropriate linguistic expression of thought. Unsuccessful phonetic organization of speech, difficult articulation, unusual sound phrases distract the reader's attention, interfere with the perception of the text by ear. Therefore, the doctrine of harmony is important not only for writers, but also for editors who perform stylistic editing of manuscripts. Everyone who works on the style of the work should try to avoid the obsessive repetition of the same and similar sounds, the use of dissonant word forms, unpronounceable combinations of sounds when combining words, etc.

In fiction, especially in poetry, the harmony of speech acquires an important aesthetic value. An example of the harmony, musicality of Russian poetic speech can be the quatrain of M.Yu. Lermontov:

The mermaid was swimming along the blue river

Illuminated by the full moon;

And she tried to make it to the moon

Silver foam waves.

To characterize the phonics of these lines, the abundance of voiced consonants, sonoric and a low percentage of deaf people is very important. The most sonorous line of the quatrain is the second, the most “deaf” is the third.

The confluence of consonants, generating dissonance, is a serious stylistic flaw in poetic speech. K.I. Chukovsky wrote: “Children in their poems never admit the accumulation of consonants that so often disfigures our“ adult ”verses for children. In no poem composed by children have I ever met such harsh, rough sound combinations as are found in some book verses. Here is a typical line from one poem for children: Bobblehead is furious ... Try to say it out loud! Psvzb - five consonants in a row! And an adult cannot pronounce such a line, not like a five-year-old child.

In the work on the style of the work, it is necessary to analyze the sound system of speech and eliminate the shortcomings of phonics that cause dissonance.

The most general stylistic requirement for the phonetic side of speech is the requirement for harmony, formulated in ancient rhetoric. Aristotle argued: "Written should be readable and legible, which is one and the same."

Harmony implies the most perfect combination of sounds from the point of view of speakers of a given language, convenient for pronunciation and pleasant to hear. The requirements of harmony should be consistent with the phonetic features of a particular language. The division of languages \u200b\u200binto “harmonious” and “dissonant” is devoid of a scientific basis and is usually associated with subjective assessments. The harmony is always due to the peculiarity of the phonetics of this national language. Everything that is not peculiar to the language that goes beyond

For example, the harmonies that are unusual for a Russian person in such words as the Beatles, Hijra, Niskouori, Papaioanna, seem dissonant.

Each national language has its own unique individual phonetic system, which is the most convenient for speakers of this language. For a Russian person, for example, the Pushkin line is harmonious. At the seashore, the oak is green; there are no unpronounceable combinations of sounds, short words alternate with long ones, the intonation is harmonic, smooth. Such lines are disagreeable, for example: Suddenly, a friend was sad: soon / again he would meet the enemy. Stringing words with dissonant combinations of vdr, vzgr, vsk, vstr complicates their pronunciation; unjustified repetition of the same sounds (y, c, p), as well as similar (d - t, s - s), is intrusive and unpleasant; the pause caused by the hyphenation after the first line deprives speech of smoothness.

3.2.2. The compatibility of sounds in Russian

The most natural sound of Russian speech is achieved by the alternation of consonants and vowels and the insignificant use of consonant combinations, i.e. combinations of several consonants. In our phonetic system, consonant combinations are often binomial (dr, br at), sometimes trinomial (explosion, formation); the combination of four or more consonants, which may appear at the junction of two words, violates the harmony of speech (adult donkey contest ...). More M.V. Lomonosov, speaking about the sound organization of speech, recommended "to protect the indecent hearing of an opposing confluence of consonants, for example: all senses are nobler, for six consonants, put together next to each other, vstv-vz, language is very stumbling."

To create harmony, it is important how many sounds are included in the consonant combination, what sounds they are, what their sequence is, at the beginning, in the middle or at the end of the word they are located, “In order to precisely establish the laws of the combination of sounds in modern Russian, we are obliged to consistently distinguish between two cases : 1) a combination is phonetically impossible, it was banned by a living, now valid law, there is no such combination in modern Russian words; 2) a combination is phonetically possible, i.e. "it is not prohibited by the laws of the compatibility of sounds in modern Russian, but it is represented only in one, two, or even not at all represented in real Russian words." Combinations of the second type are of stylistic interest.

In Russian vocabulary, as a rule, a combination of consonants obeys the laws of harmony. But there are inconsistent words in the language in which the consonants are larger than the average norm or their usual sequence is violated (bend, bounce, bounce, bounce, stumble, bounce, bounce, bang, shake).

Combinations of two consonants at the beginning and in the middle of a word are common in Russian (snow, step, oar, good), but moving them to the end of the word makes it difficult to articulate (kind, round). The appearance of runaway vowels between such consonants returns the harmony (cf. spring a - springs, interesting - interesting). Such combinations of sounds as tl, evil are more often found at the beginning and middle of words and very rarely at the end (evil, knots, woodpecker, wand, broom).

The study of the sound side of Russian vocabulary makes it possible to highlight rare forms ending in a concourse of consonants: short adjectives (callous, dull), forms of the genitive case of the plural of nouns (flees, virtues, acquaintances, goodies). However, most of these word forms in live speech are either not used at all, or are rarely used.

In Russian, consonant combinations prevail built in accordance with the law of ascending sonority of a syllable, i.e. noisy consonant (deaf or voiced) plus sonorous (gr, dr, cl, pl, cm, zn, zl). Atypical words such as pretzel, ice cream, as in them sonorous precede noisy. When calculating the 100,000 sounds of the Russian language, the combination of ol occurred 411 times, and the combination of rp, i.e. combination with descending sonority only twice. The same pattern can be seen when using other consonant combinations. Some complexes of consonants (such as Vrzh, mkrtch) seem unpronounceable to Russian people, although they are quite common in other languages \u200b\u200b(cf. non-Russian surnames Vrzhets, Strzhelchik, Mkrtchyan, Tsrka, Vlk, Grzhemek, etc.).

The Russian language is characterized by a tendency to reduce consonant combinations in speech. Thus, when a consonant of consonants of similar quality occurs, one of them in oral speech falls out (late, it is known, a gigantic, silent). The use of variants of prepositions helps to avoid the accumulation of consonants if the word begins with a consonant combination: k - ko, s - co, b - to, o - about - about, under - under, over - necessary, etc. (cf .: about this - about everything, to him - to everyone). When consonants merge in oral speech, a syllable vowel appears ( Alexander ə r, Minister ə r, October ərsky, howlsleep, sleepum, the diseaseə н

) Sounds in combination with consonants at the end of a word in poetic speech often become syllable.

There is an opinion that the more vowels in a speech, the more harmonious it is. This is not true. The harmony is supported by the most characteristic for the language correlation in the text of vowels and consonants. In Russian speech, vowels averaged 42.35%, consonants 53.53%, sound d - 4.12%. Vowels give rise to harmony only in combination with consonants, but the confluence of several vowels, or gaping, distorts the sound structure of Russian speech, complicates articulation (recall the word euya coined by V. Khlebnikov). The gaping can be internal - when several vowels stand side by side in one word (radio green, punctuation, ay dioesthesia), and external - when a combination of vowels appears when words are combined (in Tanya and Oli). Dissonance usually occurs with an external gap. (Even Lomonosov, as an example of the poor sound organization of speech, quoted the phrase crying pitifully about the past and the humble friend.)

The laws of harmony in the language cause phonetic changes in borrowed words. So, the Greek names John, Theodore, in the Russian language began to sound like Ivan, Fedor, the French bivouac turned into a bivouac.

Inconsistent combinations of consonants and vowels occur in speech, usually when words are combined. Consequently, one can avoid dissonance by subordinating the phonetic organization of speech to the laws of the combination of sounds.

3.2.3. Aesthetic assessment of the sounds of the Russian language

The concept of harmony is also associated with an aesthetic assessment of speech sounds. Even in the era of ancient antiquity it was considered an unpleasant, dissonant sound "sigma", the repetition of this consonant in speech was not encouraged, so the ancient poets tried not to use words with "sigma". Emotional attitude to the sounds of speech is also characteristic of Russian poets who strove for "sweet-eyed", the beauty of the sound of speech. “... What the hell? What kind of cabbage soup? Oh, barbarians! ”Exclaimed K.N. Batyushkov. In the new, Soviet era, V.V. Mayakovsky, speaking out against “smooth writing”, defended sharp, coarse sounds: “There are still good letters: er, sha, schA!” This “polemic” reflected a different aesthetic assessment of sounds.

Prose writers also speak of the artistic disparity of various sounds of speech, noting the dissonance of hissing and whistling sounds. M. Gorky advised young writers to avoid the hissing sound combinations of lice, lice, lice, cabbage, and cabbage, to prevent the repetition of whistling and hissing sounds, if they are not onomatopoeic.

An aesthetic assessment of sounds, of course, can also bear the imprint of subjective perception. However, studies conducted in recent years convince us that the emotional coloring of sounds is perceived equally speaking the same language. A “foggy halo” around the sign shell creates a phonetic dependence. This is a very vague aspect of knowledge that we hardly notice, and only in some words we feel the “pressure” of the sound on the meaning (grunt, mumble, balalaika, burdock, harp, lily).

The communion, dragging, grinding, wincing, wringing, etc. We try not to use such forms as skinny (from skinny), puny, etc. On the contrary, “musical” sounds - vowels, sonorous, voiced consonants (which, in relation to “voiceless”, ie noisy deaf, account for 74.5%) - give speech a melody, a beautiful sound. Sonor consonants in Russian often start a word or face a stressed vowel (rose, early, sea, sweetheart, boat, swan, bliss, cornfield, etc.), determining the sound of speech.

3.2.4. Speech repetition rate

The harmony is influenced by the frequency of use of sounds the same or similar in articulation. Fonika suffers from an increase in the frequency of this or that sound (Frequently, members with members of the Old People visit; the preface to “Criticism of Political Economy” says ...). Accumulation of identical or similar consonants in a sentence makes it difficult to pronounce and reduces the harmony of speech, moreover, the repetition of consonances in words makes them similar, contrary to the meaning, which negatively affects the logical side of speech (The public accepts this often for clean  coin; Dutch goal against Canadian footballers ...; Put where put put; the leg was naked). The repetition of “ugly” sounds — hissing, whistling — is especially undesirable (reducing the danger of plantation being damaged by fires; the uprising of the sixth imam). The dissonance of speech becomes a stylistic flaw in any style. Once upon a time A.P. Chekhov wrote about the title of the article "Essays on Sanitary Statistics": "It is a little long and a little dissonant, because it contains a lot of s and a lot of t," suggesting the author to call this essay "somehow simpler."

The repetition of vowels is less noticeable, however, the stringing of words with such relatively rare sounds as y, s in the text is also perceived as a deviation from the phonostylistic norm (In martyrdom and in horror in the gloomy garden, in the versatile form of the aforementioned art literature).

Cases of repetition of identical vowels and consonants with the aim of enhancing the sound expressiveness of artistic speech cannot be confused with inconsistent combinations of sounds. Such sound repetitions are due to other principles of phonetic organization of the text and should not be analyzed from the standpoint of harmony.

Russian speech has a large number of sounds of various articulations. In words, these sounds are combined in accordance with the laws of harmony operating in the Russian language. But at the junction of words, harmony can be broken. A.M. Peshkovsky wrote: “It is easy to see that the author’s choice can occur ... mainly on the borders between words, since language itself took care of the soundness inside the word: after all, the combinations used inside the words are thereby made soundable to us. At the borders between words, combinations of sounds are random. ” Therefore, it is necessary to combine the words so that the speech was comfortable and pleasant for hearing.

3.2.5. Word length

Alternating percussion and unstressed syllables  and the related prevalence of short or long words in the text. Speech is harmonious if polysyllabic words alternate with short ones. In this case stressed syllables  not located in a row and not too far apart.

For the Russian language, the average word length is three syllables. This does not mean, of course, that only three-syllable words should be selected, but a sense of proportion should prompt the author to such a combination of words that preserves the language-specific alternation of stressed and unstressed syllables and the natural arrangement of interword pauses. If the stresses turn out to be a few words in a row, then pronouncing such a phrase resembles a drum fight (the Garden was empty, old, a goal, it was forgotten). The confluence of short words in the speech makes the phrase “chopped”, violating the harmony. However, the stringing of monosyllables is played by poets in humorous verses. For example:

Beetle life

(Novel in verse)

Chapter first.

Once upon a time there was a bug. The beetle was small. He gnawed a beech. Drank. He ate, slept. The beech was solid - the beetle was proud: it gnawed a year, it gnawed a move.

Chapter Two

Once upon a time there was a thrush. The thrush was small. The thrush was simple: drank, ate, slept. Skok yes skok, knock yes knock ... Suddenly, looking sideways: meadow, there is beech.

Chapter Three

The beetle was proud of the beetle erased the pot: he ate the cake like a cake. And, blowing dust, went to bed ... Suddenly a beak climbed into the course - there was a beetle.

(M. Yasnov // LG.)

If stressed syllables are too distant from each other, which happens if the words are prohibitively long, then the speech becomes monotonous, lethargic (Evidence of the named advance holders are recorded).

However, it should be borne in mind that the norms of the average word length vary in different functional styles; Thus, in scientific speech, the use of polybasic words-terms is possible, which in an artistic text will seem inappropriate; in the formal business style, many long words were fixed that the poet would never use. Writers generally do not approve of such ugly words. It is interesting to recall Chekhov’s assessment of one of the new long words: in a letter to V.I. Nemirovich-Danchenko A.P. Chekhov ironized: “... The art theater is a good name, so it should be left. And Art-Public - it sounds bad, somehow triple. "

3.2.6. The meaning of harmony

The requirement of the harmony of speech is not only a requirement of poetic taste, but also one of the requirements of the culture of speech as the science of the most successful and appropriate linguistic expression of thought. Unsuccessful phonetic organization of speech, difficult articulation, unusual sound phrases distract the reader's attention, interfere with the perception of the text by ear. Therefore, the doctrine of harmony is important not only for writers, but also for editors who perform stylistic editing of manuscripts. Everyone who works on the style of the work should try to avoid the obsessive repetition of the same and similar sounds, the use of dissonant word forms, unpronounceable combinations of sounds when combining words, etc.

In fiction, especially in poetry, the harmony of speech acquires an important aesthetic value. An example of the harmony, musicality of Russian poetic speech can be the quatrain of M.Yu. Lermontov:

The mermaid was swimming along the blue river

Illuminated by the full moon;

And she tried to make it to the moon

Silver foam waves.

To characterize the phonics of these lines, the abundance of voiced consonants, sonoric and a low percentage of deaf people is very important. The most sonorous line of the quatrain is the second, the most “deaf” is the third.

The confluence of consonants, generating dissonance, is a serious stylistic flaw in poetic speech. K.I. Chukovsky wrote: “Children in their poems never admit the accumulation of consonants that so often disfigures our“ adult ”verses for children. In no poem composed by children have I ever met such harsh, rough sound combinations as are found in some book verses. Here is a typical line from one poem for children: Bobblehead is furious ... Try to say it out loud! Psvzb - five consonants in a row! And an adult cannot pronounce such a line, not like a five-year-old child.

The harmony of speech in fiction not only serves the general aesthetic goals of the beauty and musicality of the syllable, but can be used as a means of expression. At the same time, harmony, as well as other features of phonics, should always be subject to the laws of aesthetic expediency. Sometimes the poets' desire for the expressiveness of artistic speech prompts them to such a phonetic organization of the verse that is far from the melodic, harmonious sound. More A.N. Radishchev wrote: "the verse" in the light of slavery make darkness "... very tight and difficult to say (...) I agree ... although others revered it, this verse is successful, finding in the nonsmoothness of the verse a pictorial expression of the difficulty of the action itself ...".

The right of writers to use unsound combinations in fiction is beyond doubt; it is only important that their use is aesthetically motivated. Russian writers knew about this long before the criteria for harmony were developed in the style.

Aesthetic expediency determines the use of other stylistically significant elements of phonics in artistic speech.

3.2.7. Disturbance of harmony when creating abbreviations

The combination of sounds inherent in the Russian language and the ratio of vowels and consonants can be violated when creating compound words. For example, abbreviations are dominant, in which vowels and consonants predominate (MOAU, EOUS, UAI, FIA, UNIIO, MPTSHP, VZTPP, MPPT, VZTTM, GVYTM). Sometimes in one abbreviation one can find both a gaping and a concourse of consonants (EOASSPTR - expeditionary squad of emergency rescue, ship-lifting and underwater technical works). Excessively long abbreviations cannot be reproduced in oral speech (NIIOMTPPLOBOPARMBETZHELBETRABSBOMONIMONKONOTDTEHSTROMONTRAB - Laboratory for shuttering, reinforcement, concrete and reinforced concrete work, prefabricated and assembled structures of the construction and installation works technology department of the Academy of Scientific and Research Institute of Construction and Architecture.

Scientists and writers are talking about language clogging with unsuccessful abbreviations. It is appropriate to recall the words of Anna Akhmatova (from a letter to her Czech friend): “There was Russia, everyone loved her, became the USSR” - how can I love this pile of consonants? ”Inconsistent, long cuts are often parodied. So, comedian writers invent abbreviations that match the sound of ordinary words (- Explain to me what UKSUS? ... - Office for the Coordination of Supply and Settlement of Sales. ... In general, it’s a bit like linking and jabbering. - “LG”). In some cases, unabbreviated words are included in the composition of such parody abbreviations [- To be honest, I developed this system with a tablet back when I was at NIITAM and it worked without fail. And here, in NIITUT, employees of all other departments (“LG”) used my system; The Zhilibilistroy Trust switched to new, more advanced methods. He is putting into operation new houses, wholly repaired (“LG”)].

It should be noted that, despite such a negative attitude to the "ugly" abbreviations of writers and stylists, the language will inevitably be replenished with neologisms of this type. In our age of space velocities, the reduction of words and the creation of abbreviations is a very characteristic phenomenon. Abbreviations are distributed in other languages \u200b\u200bof the world.

In Russian, the first abbreviations arose even before the revolution. At first, it was introduced carefully and did not differ in particularly dissonant combinations of vowels and consonants: Lenzoloto, Produgol, Ruskabel, Vocheto, Osforum (Society for the Assistance to the Physical Development of Learning Youth), Ropit (Russian Society of Shipping and Trade), etc. It is curious that the compound words that received distribution in everyday life of the privileged elite of society, were even adapted for the convenience of pronunciation: in them the sequence of the abbreviated parts of the words was changed: Glavkoverh (Supreme Commander in Russia in the first world war). However, with the spread of abbreviations, its “costs” became more noticeable: dissonant abbreviations appeared in Russian more and more often.

The Russian language has developed its own “remedy” against clogging it with unsound abbreviations: their pronunciation is governed by the laws of phonics inherent in the language as a whole.

There are several ways to eliminate abbreviations in abbreviations. So, the bulkiness of some of them requires mixed reading: part of the abbreviation is read as a word (letters correspond to letters), and the other part requires the pronunciation of each element: for example, VZITLP is read as viteelpe, GUPKOiBG - gupko and bege.

Sometimes abbreviations use connecting vowels. For example, a connecting vowel o facilitates the pronunciation of words such as Technoruk, techno fabric, technocopy, Glavcentrostroy. The voltage of the consonant combinations can be weakened by the inclusion of sonor sounds in them (regional health department, not the health department). In other cases, consonants that impede pronunciation are excluded from the abbreviation (leshoz, not leshoz, technical installation, not technical installation).

In the interests of harmony, it is recommended to replace the unpronounceable combinations of sounds with whole syllables in the abbreviations or partially open the abbreviation (Glavsevmorput Route instead of Urplavsevmorput). Finally, unsuccessful abbreviations are replaced by synonymous names.

Damage to the harmony of speech is caused by an unsuccessful composition. Complicated words are formed from several foundations. So, in chemistry, the terms are known that have arisen as a result of the fusion of five or more bases [para-acetaminobenzaldehyde isonicotinoylhydrazone, (5-nitrofuryl-2) -acrylidene-minogidantoin potassium salt]. In oral speech, the use of their abbreviated synonyms is justified (INXA-17, furagin potassium salt).

The requirement of harmony, compliance with the phonetic features of the Russian language must be taken into account when creating new words. It is no coincidence that political figures of the 90s. resort to the invention of witty abbreviations: Yabloko, headed by G. Yavlinsky, make up the initial letters of the names of the leaders of this democratic movement: Yavlinsky, Boldyrev, Lukin. Yavlinsky called his center for economic and political research EPITsentr.

Observations show that in recent decades there has been a tendency to create abbreviations matching the sound with unabbreviated words [such as AIST (automatic information station), AMUR (automatic control and regulation machine)]. The law of harmony was most fully expressed in this method of abbreviation. True, in these cases, unwanted homonymy should be avoided, otherwise the sound of the abbreviation will cause inappropriate associations. So, the abbreviation of the coffin means " civil defense”, And MUSOR - Moscow Criminal Investigation Department.

3.2.8. Elimination of discordance of speech during stylistic editing of the text

In the work on the style of the work, it is necessary to analyze the sound system of speech and eliminate the shortcomings of phonics that cause dissonance.

Instead of difficultly abbreviated dissonant names, it is better to use complete ones if this does not violate the lexical norms of this functional style. For example, one should not use a long compound word in such a sentence in a television report: Letters to Igarka are sent through Uprglavsevmorput  (it was better to open the abbreviation: through the Office of the Main North Sea Route). In a radio broadcast, the use of an abusive abbreviation in such a sentence, for example, is also not justified: the honorary prize was won by the pupils of the Youth School of Moscow “Lokomotiv” (better “The honorary prize was won by the pupils of the Children's and youth sports school ...”).

In a text intended to be read aloud, stylistic revision is necessary when accumulating dissonant participles with the suffixes -vsh-, -sh-, -ash-, -yash-, -ushch, -yuvny [So the strip of failures that worried us all is our your stov, having suffered their defeat in their meetings, has passed (better: Our athletes, despite the failures at the beginning of the drafts tournament, have come forward)].

In texts for radio and television broadcasts, stylistic editing is desirable when difficult-to-pronounce combinations of sounds appear at the junction of words. Most often, in such cases, phonics suffers due to the confluence of consonants. For example: After all the torment, revenge became her passionate impulse; The light was too dim, the darkness was thickening. These suggestions can be corrected as follows: After all the torment, she wanted to take revenge brutally; The light shone weakly, the darkness was thickening.

Less commonly, nearby vowels are the cause of speech dissonance. So, the union can also be unsuccessfully combined with the end of the previous word (s). This phonostylistic error robs harmony, for example, a sentence. In the section of orthoepy, the concept of orthoepy is given and the features of literary pronunciation are studied. In such cases, stylistic editing requires a change in the order of words in the sentence, a synonymous replacement of the words that caused dissonance, and also the exclusion of the union and [Orthoepies are given in the first (or any other) section, features of literary pronunciation are considered].

If the author is inattentive to phonics, the sentence notes the concourse of consonants and the stringing of vowels. For example, in one modern novel, the hero utters the following “harmonious” phrase: “But just keep in mind with Antonin oh: what is this snake [typist], if she eats operas, it’s definite - here the combination of vowels at the border is unpleasant for the hearing serpent, if, the repetition of the same harmonies in combination with Antonina is nothing, she will get ahead of a certain one. With the stylistic editing of such texts, it is necessary to change the order of words, if possible removing consonant units from each other.

Stylistic editing is mandatory when misusing prepositions that have phonetic options [about all this, with full-time teachers, with a technological line that has come into operation (you need: about all this, with full-time teachers, with a new technological line)].

Stylistic editing is recommended when using borrowed words, as well as neologisms unusual for Russian phonics. In this case, if possible, replace words that stand out with their sound against the background of Russian vocabulary. For example: The speaker fell into exaltation, demonstrated his erudition and spoke with great affectation, which produced on audience negative effect. Reagent audience and ironic compliments  forced him to leave the stage - a possible correction: The speaker spoke with inspiration, with artificial excitement, trying to show his erudition, which the listeners (viewers) did not like. The noise in the audience and the ridicule made him leave the stage. Editing in this case consists in eliminating speech redundancy and synonymous replacing foreign words that give the speech an unnatural sound. Unlucky neologism reagent, which also needs to be derived from the text. However, it would be unreasonable to exclude words from the text only because they are non-Russian. For example, stylistic editing did not touch the word erudition, which has no equivalent lexical equivalent.

The concept of harmony.

Euphony  suggests the most perfect combination of sounds from the point of view of speakers of a given language, convenient for pronunciation and pleasant to hear. The requirements of harmony should be consistent with the phonetic features of a particular language. The division of languages \u200b\u200binto “harmonious” and “dissonant” is devoid of a scientific basis and is usually associated with subjective assessments. The harmony is always due to the peculiarity of the phonetics of this national language. For example, harmonies unusual in a Russian person in words such as The Beatles, Hijra, Niskouori, Papaioannuseem dissonant.

Each national language has its own unique individual phonetic system, which is the most convenient for speakers of this language. For a Russian person, for example, the Pushkin line is harmonious. At the seashore green oak; there are no unpronounceable combinations of sounds, short words alternate with long ones, the intonation is harmonic, smooth. Disagreeable, for example, these lines: Suddenly saddened by a friend: he will soon / again meet the enemy. Stringing words with dissonant combinations vdr, vgr, vsk, vstr  makes it difficult to pronounce; unjustified repetition of the same sounds ( y, b, p), as well as similar ( d - t, s - s) obsessive and unpleasant; the pause caused by the hyphenation after the first line deprives speech of smoothness.

Harmony Tools

To create harmony, it is important how many sounds are included in the consonant combination, what sounds they are, what their sequence is, at the beginning, in the middle or at the end of the word they are located, “In order to precisely establish the laws of the combination of sounds in modern Russian, we are obliged to consistently distinguish between two cases : 1) a combination is phonetically impossible, it was banned by a living, now valid law, there is no such combination in modern Russian words; 2) a combination is phonetically possible, i.e. "it is not prohibited by the laws of the compatibility of sounds in modern Russian, but it is represented only in one, two, or even not at all represented in real Russian words." Combinations of the second type are of stylistic interest.

In Russian, consonant combinations prevail built in accordance with the law of ascending sonority of a syllable, i.e. noisy consonant (deaf or voiced) plus sonorous ( gr, dr, cl, pl, cm, zn, zl).

The causes of dissonance.

Sound combinations

The most natural sound of Russian speech is achieved by alternating consonants and vowels and insignificant use consonant combinations, i.e. combinations of several consonants. In our phonetic system, consonant combinations are often binomial ( friend brother), sometimes trinomials ( explosion, build); the combination of four or more consonants, which may appear at the junction of two words, violates the harmony of speech ( adult competition ...).

In Russian vocabulary, as a rule, a combination of consonants obeys the laws of harmony. But there are also dissonant words in the language in which the consonants are larger than the average norm or their usual sequence is violated ( squeal, shake, shake, stumble, squeeze, scare, explosion, shake).

Common in Russian are combinations of two consonants at the beginning and middle of a word ( snow, steppe, paddle, kind), but moving them to the end of the word makes it difficult to articulate ( good round) The appearance of escaped vowels between such consonants returns a harmony (cf. spring - springs, interesting - interesting) Sound combinations such as tl, zlare more common at the beginning and middle of words and very rarely at the end ( evil, knots, woodpecker, rod, broom).

A study of the sound side of Russian vocabulary makes it possible to distinguish rare forms ending in a concourse of consonants: short adjectives ( stale, dull), forms of the genitive plural of nouns ( getaways, virtues, acquaintances, goodies) However, most of these word forms in live speech are either not used at all, or are rarely used.

Atypical words such as pretzel, ice cream, as in them sonorous precede noisy.

The Russian language is characterized by a tendency to reduce consonant combinations in speech. So, when a consonant of similar in quality consonants, one of them in oral speech falls out ( late, known, giant, silent) To avoid the accumulation of consonants, if the word begins with a consonant combination, the use of prepositional options helps: to - to, with - to, to - to, about - about - about, under - under, above - it is necessary  etc. (Wed: about it - about everything, to him - to everyone) When consonants merge in oral speech, a syllable vowel appears ( Alexandr, minister, October, cry, sleep, illness

The harmony is supported by the most characteristic for the language correlation in the text of vowels and consonants. In Russian, vowels average 42.35%, consonants 53.53%, sound th  - 4.12%. Vowels give rise to harmony only in combination with consonants, the confluence of several vowels, or hiatus, distorts the sound structure of Russian speech, complicates articulation. Gaping can be internal  - when several vowels stand side by side in one word ( radio unit, punctuation, audio anesthesia), and external  - when a combination of vowels appears when words are combined ( tanya and Olya) Dissonance usually occurs with an external gap. (Even Lomonosov cited the phrase as an example of poor sound organization of speech cry pity for the departure of his sincere friend.)

The harmony of speech is influenced by the alternation of stressed and unstressed syllables and the related predominance of short or long words in the text. Speech is harmonious if polysyllabic words alternate with short ones. In this case, stressed syllables are not arranged in a row and not too far apart.

For the Russian language, the average word length is three syllables. The confluence of short words in the speech makes the phrase “chopped”, violating the harmony. However, the stringing of monosyllables is played by poets in humorous verses. For example:

Beetle life

Once upon a time there was a bug. The beetle was small. He gnawed a beech. Drank. He ate, slept. The beech was solid - the beetle was proud: it

If stressed syllables are too distant from each other, which happens if the words are prohibitively long, then speech becomes monotonous, listless ( The evidence of the named advance holders is recorded).

Significant harmonies

The requirement of the harmony of speech is not only a requirement of poetic taste, but also one of the requirements of the culture of speech as the science of the most successful and appropriate linguistic expression of thought.

The harmony of speech in fiction not only serves the general aesthetic goals of the beauty and musicality of the syllable, but can be used as a means of expression.

Abbreviations

The combination of sounds inherent in the Russian language and the ratio of vowels and consonants can be violated when creating compound words. For example, abbreviations are dominant, in which vowels and consonants predominate ( MOAU, EOUS, UAI, FIA, UNIIO, MPTSHP, VZTPP, MPPT, VZTTM, GVYTM) Sometimes in one abbreviation one can find both gaping and a concourse of consonants ( EOASSPTR - expeditionary team for rescue, ship lifting and underwater technical works) Excessively long abbreviations cannot be reproduced in oral speech ( NIIOMTPPLOPOPARMBETZHELBETRABSBOMONIMONKONOTDTEHSTROMONTRAB - Laboratory of formwork, reinforcement, concrete and reinforced concrete work, prefabricated and assembly structures of the department of technology of construction and installation works of the Research Institute of the Academy of Construction and Architecture of the Russian Federation  - “Cr.”).

Scientists and writers are talking about language clogging with unsuccessful abbreviations. It is appropriate to recall the words of Anna Akhmatova (from a letter to her Czech friend): “There was Russia, everyone loved her, became the USSR” - how can I love this pile of consonants? ”

There are several ways to eliminate abbreviations in abbreviations. So, the bulkiness of some of them requires mixed reading: part of the abbreviation is read like a word (letters correspond to letters), and the other part requires the pronunciation of each element: for example, VZITLP  read like viteelpe, GUPKOiBG - stupidly and bege.

Sometimes abbreviations use connecting vowels. For example, the connecting vowel o makes words like Technoruk, techno fabric, technocopy, Glavcentrostroy. The voltage of the consonant combinations can be weakened by the inclusion of sonor sounds in them (regional health department, not the health department). In other cases, consonants that impede pronunciation are excluded from the abbreviation ( leshoz, but not forestry, technical installation, but not technical installation).

In the interests of harmony, it is recommended to replace in the abbreviations the unpronounceable combinations of sounds with whole syllables or partially reveal the abbreviation ( Office of the General Administration  instead Uprglavsevmorput) Finally, unsuccessful abbreviations are replaced by synonymous names.

Damage to the harmony of speech is caused by an unsuccessful composition. Complicated words are formed from several foundations. So, in chemistry, the terms are known that arose as a result of the merger of five or more bases [ para-acetaminobenzaldehyde isonicotinoylhydrazone, (5-nitrofuryl-2) -acrylidene-minohydantoin potassium salt]. In oral speech, the use of their abbreviated synonyms is justified ( INXA-17, furagin

In the work on the style of the work, it is necessary to analyze the sound system of speech and eliminate the shortcomings of phonics that cause dissonance.

Dissonance elimination

1. Instead of difficultly abbreviated dissonant names, it is better to use full ones if this does not violate the lexical norms of this functional style. For example, you should not have used a long compound word in such a sentence in a television report: Letters to Igarka are forwarded via Uprglavsevmorput(it was better to open the abbreviation: via the Office of the Main North Sea Route) In a text intended to be read out loud, stylistic editing is necessary when accumulating unsounding participles with suffixes -vsh-, -sh-, -ash-, -yash-, -ush-, -yush- [So the strip of failures of our draftsmen who suffered defeat in the past meetings that excites everyone passed  (it's better: Our athletes, despite the failures at the beginning of the drafts tournament, came forward)].

2. In texts for radio and television broadcasts, stylistic editing is desirable when difficult-to-pronounce combinations of sounds appear at the junction of words. Most often, in such cases, phonics suffers due to the confluence of consonants. For example: After all the torment, revenge became her passionate desire; The light was too dim, the darkness was thickening. These suggestions can be fixed as follows: After all the torment, she wanted to take revenge brutally; The light shone weakly, the darkness was thickening.

Less commonly, nearby vowels are the cause of speech dissonance. So, the union can also be unsuccessfully combined with the end of the previous word (s). This phonostylistic error robs harmony, for example, a sentence. The section on orthoepy gives the concept of orthoepy and studies the features of literary pronunciation. In such cases, stylistic editing requires a change in the order of words in the sentence, a synonymous replacement of words that caused dissonance, as well as the exclusion of the union and [ The first (or any other) section gives orthoepies, discusses the features of literary pronunciation].

If the author is inattentive to phonics, the sentence notes the concourse of consonants and the stringing of vowels. For example, in one modern novel, the hero pronounces the following “harmonious” phrase: - But just keep in mind with Antonina: nothing to this snake [typist], if she is ahead of us, certain  - here, combinations of vowels on the border of the words snake are unpleasant for the hearing, if, the repetition of the same harmonies in combinations nothing with Antonina, she’s ahead of a certain one of us. With the stylistic editing of such texts, it is necessary to change the order of words, if possible removing consonant units from each other.

3. Stylistic editing is obligatory when misusing prepositions with phonetic variations [ about all this, with full-time teachers, with a technological line that has come into operation  (necessary: about all this, with full-time teachers, with a new technological line)].

4. Stylistic editing is recommended when using borrowed words, as well as neologisms unusual for Russian phonics. In this case, if possible, replace words that stand out with their sound against the background of Russian vocabulary. For example: The speaker fell into exaltation, demonstrated his erudition and spoke with great affectation, which had a negative effect on the audience. Reagent audience and ironic compliments forced him to leave the stage- Possible editing option: The speaker spoke with inspiration, with artificial excitement, trying to show his erudition, which the listeners (viewers) did not like. The noise in the room and the ridicule made him leave the stage. Editing in this case consists in eliminating speech redundancy and synonymous replacing foreign words that give speech an unnatural sound

AUDIO SPEECH ORGANIZATION  - artistic and expressive, performing certain stylistic functions, the use in prose or poetic text of certain elements of the sound composition of the language: consonants and vowels, stressed and unstressed syllables, pauses, various types of intonations, homogeneous syntactic turns, repetitions of words, etc.

The most frequent form of Z. about. R. is the repetition of homogeneous sound elements ( sound repeats), creating various types of symmetrical sound construction of speech. Since the repetition of homogeneous sounds that make up the words associated with a given sound repetition, selects these words in the speech stream, attracts attention to them, insofar as they are pronounced to a certain extent emphasized in comparison with others, they receive a certain intonational significance. By virtue of this 3. about. R. always associated with intonation, has intonational significance.

In some works, attempts are made to understand Z. about. R. as an autonomous system in the aesthetic sense that creates a certain selection of sounds, one or another sound image, or sound scale ( sound recording), as it were, regardless of the meaning of the words, to-rye include these sounds. Insofar as onomatopoeia (onomatopoeia), that is, imitation with the help of speech sounds of certain phenomena of reality, is to some extent (insignificant) inherent in language (cf. "Cuckoo").

In the characterization of various species 3. about. R. distinguish the repetition of sounds by their quality ( assonance  - repetition of vowels and alliteration  - repetition of consonants) and at the place ( anaphora,  monosensory - repetition of the initial, epiphora,  the ending is finite, the ring is at the beginning and at the end, the joint. - at the end and at the beginning of words, phrases, poetic lines or hemistichs, etc.).