4 MA: < HI IEo.> 5 LE: < HI> G MA: [just ad 2 cOmment about the: um PROtestes, 99 “This extract shows the matching of voice quality during a telephone opening sequence. The vocals iparates the three-part opening from surrounding “ts Marie changes into a neutral setting for her next turn (ine 6); Like ‘her forms of prosodic matching, continuing a vocal setting for the Sf an adjacency pair is often the default case, while prosodic nor-alignmen stich contexts. Marching ‘noticeable absence «above typically oce next turn agreements itself contributes to the design of a next turn as closely connected to a treated by participants FURTHER READING General descriptions of voice quality can be fo p. 19-22, 328-32), Honk 30/2009, 1994, (2004). ‘Several scio-phonetcians have researched the role of v0 example Coadou (2 the display of emotions Outlook: Future Issues in Research on Prosody in Conversation have attempted 10 give an guistic knowledge of conversation time, loudness and voice quality. which many basic ga duced here, interactional linguists are rosody and tal. concerned with explor- juence organisation and Since the fist studies investigated the role years ago, research in this field has been pred ing thtee areas: the role of prosody for eu individual conversational actions. “Tumn-taking is accomplished through orientation co a number of linguistic and other interactional cues: por icipanss’ timing of their accents have», West Midlands English, che pot “valley. They come to the concls ich accents take the shape of api cht while participants seem to orient to the presence ofa final ae ela kel not necessarily predictable. This finding repeats an earlcr, very important aspect of research on prosody n-taking, concerning the issue of differences in languages and linguistic varieties. For example, Local et al, (1986) show that che prosodic cues for tuen completion in Tyneside English specifically is slowing down in speech rate; a sudden inerease and subseq Toudness on the final stressed thening of the inal a step-up or 2 prsehtsmiar work on London jarican Engh and Peppé (1996) describe prosodic cues for tum-taking in Ulster English, All three pieces emphasise the nature of prosodic turn-taking cues as cl prosodic features, rather than individual sig that, provided a stretch of tal ts that, although some intonation interactional practices, such as ‘complet concepts do not necessarily have to refer to turn-t and incerpret a certain prosodic and a narrative sequence in another. They may also be designi ‘incomplete’ in terms of their own state of knowledge, although it may well be ‘treated a8 a complete turn, with a speaker transition fllo ‘When it comes to the role of prosody for sequence organization, research has ‘most fundamental decisions participants have to make on a next turn continuing what was done before sion, prosody sce a particularly sig shn Local (1992) describes participants’ interruptions of their that follows them, which the aborted curn was left. In contrast, those tases in which participants abandon the previous project and start agnin are characterised by a higher pitch onset than the one at which the previous turn ‘was abandoned. fidence for the role of pitch in designing talk sinuing is provided by Couper-Kuhlen (2004), summari She describes how participants use a sudden increase ‘when they begin a new conversational sequence and coi and Joudness levels when they are continuing a previous sequence. ‘Szczepek Reed (2009), summarised in Chapter 8.3.2, shows that high pitch and increased loudness does not always design talk as new ot noticeably ourtoox _2at different. From this work it seems that ‘newness’ is prosodically achieved by doing something prosodically new compared to, for example, a previous speaket IF that previous speaker used high pitch a pant’ use of those prosodic features does not as starting something new. Instead, participa rather than their employment of specific pa main determining factor. ‘The prosody of specific conversational actions has been a third area of study. for interactional linguists, and a very broad one indeed. Numerous studies have bing the precise prosodic characterst ional orientation to prosody, ns, appears once again as dhe 20012); reported speech (Couper-Kublen 1996a, 1999: Kiewit and Couper= Kuhl }; and questions and answers (Couper-Kulen and Auer, 1991 1 1992b; Ford eta, 2004; Couper-Kuhlen, forthcoming), ro name only (Our understanding of any of these areas ~ prosody and turn-taking, sequenes organisation and single conversational actions ~ is still far from complete, and it is therefore necessary for research to continue exploring these issues. However, as the majority of discourse-related language study bas moved towards a largely undisputed acceprance of the importance of prosody for interaction, the ing years and decades will also enable analysts of conve specifically functional 1¢ only aspect of language and interaction rosody is also a language-s of long and short and syncax (such as in the 1 for other aspects of social such asthe display of prosody always fulfils a m tions falflled exclusively by prosod aware of, and sensi eres of prosodic influen the role of prosody for interaction will remain a fruit ‘of future study for some time, there is further uncharted territory in Up to now, most interactional linguistic research has been the conversation-analytic approach to the study of inceraction. However, one could also imagine an application of ions, but rarely are any of th challenges for future research. to, the multilayered combiAnswers to Exercises jugh linguistic introspection and jons and perspectives of those who EXERCISE 3.1 tus something about participant’ ways of packaging of an uter- Intonation phrases ly complete unit, as an intonation something about the kinds of utterances ff investigation of lan- approach gains implications to f prosody asa resource y, affect and stance. inthe local organisation by seu linguists are also greatly EXERCISE 3.2 affected by prosody. As our anding of the role of prosody for local turn land sequence organisation grows, students of discourse from a variety of dis- Stressed syllables ill be better equipped to turn to some of the wider aspects of social ‘how are they all alike / is glass and the EXERCISE 3.3 Pitch accentshow are they al alike, they are all forms of water. this ice here of course is water - Told you there was water and you have all seen water boil at home - so you are familiar with steam. EXERCISE 3.4 ‘SBC047 On the lot 1 Fred: and on my proDUCtion cards 2 (0.8) sec; the 4AY before YESterday. i did ICE cream. RIGHT. BALian, uh, and you gOrta PACK those; in CAses; nd SO like~ e 1 dda put hac down om my proDUCdion ar _ [hOw many CAses you PACKED; chh I don'e KNOW mAn: ers ro cents __ al 25 0.3) 26 i PACKED two PALIets, 27 (037) 28 YOU know: 29 (0.43) 30 T don't know how many (0.12) CAses [tha Is bu; 31 Richarc: (uh) 32 Fred: shhh 33 YOU know that- 34 (3) 35 "THAT shit was HEAVY man, EXERCISE 4.1 A book about death 1 Darryl: you have NO idEa: 2 ‘what happens beFORE or AFter. 3 (2.52) 4 < you have NO idEa.> 5 (1.67) 6 you can read BOOKS about it, 7 you can (0.4) TALK about it~ 8 (1.25) 9 but the most pragmAtic thing to DO is jUst ~ 10 (0.33) n LIVE ic. 31 (0.78) |: LEARN the RULES of the GAME, play the GAME,= ¢ <for WHAT - > I: -< for whatEver you } WANT:> for what-<-Ever you + WANT.> be a: DOCto, a SCREEN writer, oran ACtress, ora phiLANthropist, or ain exPLORen ts <

an exPLORers>eee 32 Darryl < do what you WANT; 33 swith the time you } HAVE.=> 34 LEARN, 35 (0.93) 36 GIVE, 37 (2.01) 38 whatEVer.> EXERCISE 4.2 Hey cutie pie 1 Jeff: you knOw what 'm SAYing= 2 like could you get- 3 is it POSsible that you could still be POSi- (0.23) POSitive, 4 (0.49) 5 jillk shh 6 T think (0.19) chered be a S::IGHT CHANCE, 7 (0.33) 8 sng a FAL:SE NEGative, shh bur < I don't THINK so; cause i'm PRETty LATE? and ithinke> im LATE enOUgh, hhh ‘where I would HA:VEs cNOUGH of 21 (0.32) 2 the HORmone < thats 23 (0.17) 4 the prEgnancy tEst TESTS for?> 25 (0.22) 26 shh 7 i think i would have eNOUGH of < that in my Urines 28 thar > 29 (0.19) 30 of t COURSE it would show up; if had any IN there? <

YEAH:> you KNOW?= < Ol Lim pret- §tOOkk thars> as a prEtty GOO:Ds < SEGN> <

Oh my GO:D; HONey; HOW come you've been; KEEPing all this in{SEDE;> EXERCISE 5.1 Hey cutie pie 1 Jeff: so was thatall the DRAma? 2 (0.22) 3 ilk ech 4 < thAt was the {DRAma:> 5) and thAc was the susPENSE, 6 shh 7 and thAc was the reLIER, 8 and tha was the ECStasy. 9 is going thrOUgh: the whOle wide SPECtrum of €MOTions; EXERCISE 5.2 Zero equals zero 1 Nath: SOs 2 (0.44)220 _ ANSWERS TO BeERCHES tAlk about this SLOW:y:, 4 as i WRITE this DOWN as you're SAYing it. 5 all RIGHT, EXERCISE 5.3 Appease the monster 1 Marci: dOn' forger to buy yourselfa COOKie sheet.= 2 before you go to make COOKies, 3 Wend: [YEAH. 4 Kevin: [and DON'T forget to take the TUPperware out of your Ovens 5 before you turn 6 Wend: 7 (0.46) 8 Marci: chchefhehche 9 Kendr: [ehehe OH YEAH; 10 THAT TOO; EXERCISE 6.1 New Yorkers Anonymous rll FRAN — VE been IOOking ~ 4 5 fora year or TWO= 6 at different PLACes to LIVE.= 7 i went bAck to EUrope— 8 9 mbm, <

to 1Ondon and PARis~ ive been in < SUN vAlley - TUCSO:n - > <

ive been- and mOnTANa:> SEATie; iLIKED searde a LOT. m(hm, [-< but i couldn't LIVE there;> and— OUTRide of new yOrks and <- i COULDnt go back to live in new yOrk agains>= ANSWERS TO EXERCISES EXERCISE 6.2 Hey Cutie Pie NOT- < aVATLable here in the united stAtes; ies only> < in FxRA:NCE,> ENGland, and — < YEAH;= and> < S:WE: EXERCISE 7.1 ‘Actual blacksmithing 1 tsk uh Oh and ies eEAlly TIRing though. 2 (61) 3 shh and it- 4 0.11) 5 you KNOW like; 6 0.47) i 8 9 10 (1.36) u 7 18 (0.91) atthe END of the yEAn>= now sEE i tk the sEcond half of the COURSE; And —EXERCISE 7.2 He knows 1 Lajuan; ilstened to my sister when my nEphew 2, (03) 3 sated COLlege how she was sAVings 4 bh 5 ‘SHE filled out All of his applicAtions for where he was ging: ands 6 hhh 7 ‘SHE did all of these THINGS:= 8 shen he had to apply for a SCHOLarship of whatBvers 9 shh 10 ‘SHE filled out Everything and I'm Mckes uw bbb. I did BY mySE:LF; shh you READ the fOrm; ‘And you fill it OUT. [ms [NO one dd it for ME: “hh you knOw and was vEry (0.47) mUch ~ swhatBver i NEEDed; hhh 1 gOt my mOney from my FAsthes, 27 (012) 28 hae paid for SCHOOL, 29 (0.47) 30 shh 31 bur 32 (0.13) 33 1 < did everything on my OWN.> EXERCISE 8.1 He knows 1 Cam: ths is the guy who doesnit know he's GAY. 2 (0.42) SURE if he’ gay YES. who's nOw in the AIR force and lives in in sOUth carolina so. <

WAIT asccond. T thought this w- guy t- was was MARried.> : RON. RON, he’s MAReied RIGHT, (0.26) 21 Lajua: thAes DARren. EXERCISE 8.2 ‘Oh you need a breadbox 1 Cindy: did ub (Andy) <- mention anything abour> the uh CARDS, 2) that we got for CHRISTimas, UH uh; 2 < CHRISTinas cards,> hh (Oh WHY dont ile (0.08) fm tell you because - = je was SOMEthing wE rEAlly gor strUck by ie because ie uhs whAcis the <

POct? ‘or SOMEthing? that DID the VERSE, hhh that your MOM really liked? wh was whem - - hElen s¢Elnerrlees>SS ee 232 __ ANSWERS To BxERCISES 34 35 Cindy: or SOMEthing like that= 36 bbuc ANnyway hE was All exited so we - 37 (025) 38 KINDa made sUre that we- 39 Ent them all vo YOU guys; EXERCISE 9:1 On the lot 1 Richasd: ig LONEly coming home afer pUcting in - twelve hours on the LOT «= 2 sand wOrking All DAY and - 3 {YOU lenow wOrking all EVEning = 4 and then you don ave anybody wo come home and <

SHARE i 5 with 6 032) 7 Fred: YEAH: 8 054) 9 hb 10 we arey- are yOU < WORKing twelve hours?> youtegofnna be- [

YEAH youre [< gonna be DOing tha’> [

YEAH,> [NINE to NINE? [<

DEFiniteys NINE to NINE> WELLIm- IFT wAne, [HELen (0.19) KELLer RICE. ANSWERS TO EXERCISES 233 EXERCISE 9.2 ‘This retirement bit 1 Doris isyour CIGarette OUt~ 2 (0.31) EverybOdy's- < yEAR= igs OUT> you smOked it Own inco the (0.18) CORK= DIDat you. < PARdon?> bh ‘= you SMOKED it DOWN Into the CORK.> ‘YEAH; YOU dont LIKE shar; DO you but NO it CHOKES me to DEATH. its THERE = right as well SMOKE ix, OH: ache shh NO GOOD. « <

NO GOOD.> EXERCISE 10.1 Hey Cutie Pie 1 Jeff you knOw what i just REslized? 2 Jill: twhae -(234 __ ANSWERS TO EXERCISES [she LOOKED at me, she's wAlking dOwn the STAIRS? ‘< uhu - > she LOOKED at mE: - = and she- bh she didn't SEE mes REally? YEAH; i WAVED at her and ~ she jUst KEPT GOing, hh MAYbe uhm ~ if) here's a re LECrion or something ~ what a < BOdy she has - > shh, ‘< isnt that inCREDible, are our BOdies gonna do tha:t?> Tes like ~ 34 SHE'S eVOLVing. 35. (0.99) 36 you KNOW like; 37 (0.86) EXERCISE 10.2 ‘Tastes very special 1 Shey: hOw about if pick for yOU and < yOU pick for mE- > 2 73) 3 4 Beth: 5. Shery: 6 7 @7) 8 Rosemary: what in the WORLD isa philadEphi- 9 (0.16) 30 Sherry: its ROAST BEEF with; 1 4) 2 ‘mBlted <- CHEESE and:> 3 SAUséed <- Onions.> 34 Rosemary: m: 13 that [DOES sound GOO:D; 16 Sherry: [on a HOAgy ROLL: