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The article deals with the mechanisms of generation and functioning of spontaneous speech and their influence on the interpreter’s spontaneous speech during simultaneous interpreting. The subject of the research is spontaneous speech in simultaneous interpretation, the object of research is functional notional types of oral speech which serve as the foundation for the algorithm of expressing the main idea of the message. Depending on the functional notional type of spontaneous speech that can be considered as the dominant one in the source message, the interpreter faces different challenges. Following the original message too closely may lead to an abundance of self-corrections, repetitions, slips of the tongue in the interpreter’s spontaneous speech, which, together with confusing syntactic constructions, make it difficult for the audience to understand the target message. Interpreting simultaneously at a higher cognitive level within the model of comparative cognitive transformations, which takes into account algorithms of expressing the main idea, the interpreter can produce a more coherent and smooth spontaneous speech in the target language based on the cognitive essence as a result of thought transformation of the original message. Pragmatic orientation of spontaneous speech predetermines methods of compression as a tool of pragmatic adaptation of the original message within the cognitive pragmatic circle of oral communication, which can be extrapolated to different functional styles of speech and types of discourse.

The article is devoted to the question of the relationship between timbre and syntax in different functional styles of speech. The methodological basis for investigating the mutual influence of syntax (the level of conditioned constructions) and timbre (the level of inductive wholeness) is selected and explained. When considering the notion of “intentionality” within the framework of the direction of phenomenology, it becomes obvious that timbre should be understood as a hierarchy of communication elements, which creates the desired sound taking into account the invariants already available in consciousness. The timbre forms not only direct, syntactic links, but also expressive components contained in both the structure and semantics of the parts of a particular speech work. In order to create convenience and maximum objectivity of analysis when describing syntactic features of works of various functional styles, a specific range of consideration is set within the framework of this study — from the level of simple morphological relations to the level of hypertext unities. The field of analysis is represented as a simple target, where the core is the zone of wellknown standardized types of syntactic links, zone-2 is the space of links existing in the form of visible repetitions (anaphora, epiphora, refrain, syntactic repetitions), zone-3 is the zone of links of all existing linking elements within the text, which is difficult to interpret objectively (links fixed by ritual). The final part of this study presents an example of analyzing a poetic text in English and its translation into Russian in order to demonstrate the close relationship between syntax and timbre at different levels of the hierarchy.

In modern linguistics, many disciplines offer their methodologies for comprehending meanings in the process of communication, but none of them provides more or less clear parameters for their identification and assessment of the interaction levels between the elements within a completed work. 

The aim of this paper is to develop a hierarchy of semantic-syntactical bonds that can be applied in timbral analysis of a text, minimizing the degree of subjectivity in the study of a work. Using the term ‘text energy’, the authors aim to describe the dynamic relationship of text units to each other in the reading process. 

Within the framework of this study, the authors propose a scale of text element cohesion for analyzing written works of speech, consisting of three levels — explicit grammatical-syntactic, anaphoric, and implicit bonds. The effectiveness of applying this scale is demonstrated on the example of analyzing the text belonging to artistic styles — the most complicated in terms of semantics. 

In order to objectively determine the degree of cohesion of elements within the text, the authors propose a list of cohesion levels correlated with the universal scale of cohesion, which can be applied to texts belonging to any functional styles of speech.

The article is devoted to the study of the timbre nature of syntactic units in poetic and journalistic texts based on modern theoretical and linguistic concepts. The focus is on the relationship between rigid predicative structures and flexible superphrasal rhythmic-syntactic unities. 

The purpose of the article is to analyze the role of rhythm as a mediator between the local and global timbre of the text, and to show how rhythmic patterns (“rambling”, “grading”, etc.) can act as a framework for timbre build-up. The authors analyze in detail the minimal unit of syntactic interaction — syntaxeme — as functional module that sets the step of timbre evolution. Within the framework of a four-level analysis (grammatical, logical-conceptual, epistemic, and emotional-expressive), the “shock zones” of timbre are identified and it is shown how syntactic deviations — inversions and parenthetical introductions — create windows of plasticity within rigidly formed grammatical constructions. 

In addition, it is shown how in journalism these techniques form a polyphonic timbre that combines rhythmic fractionality with expressive density. The authors of the article propose to consider timbre as an indicator of text coherence, depending on the consistency between the rhythmic structure and syntactic organization. Based on the theoretical works of Russian linguists, the authors build a dynamic model of the text, where timbre becomes an analytical marker of structure, expression and semantic coherence. A universal scale for assessing the timbral architecture of a text is also proposed, which helps to take into account all the necessary components for deep timbral analysis.