The non-finite forms of the verb. Мельник О.Г - 4 стр.

UptoLike

Passive Infinitive. Инфинитив переходных глаголов имеет 2 формы
пассивного залога (Simple and Perfect). В отрицательных
предложениях перед инфинитивом ставится not: We decided not to go
out because of the weather.
Инфинитив без частицы to
употребляется в следующих случаях:
1) после вспомогательных глаголов:
I don’t understand.
2) после модальных глаголов:
If one cannot have what one loves, one must love what one has.
3) после глаголов чувственного восприятия:
I never saw you look so well before.
4) после глагола to let:
Let us be friends.
5) после глагола to make (заставлять):
What makes you think so?
6) после конструкций had better, would rather, would sooner:
You’d better go to bed.
Функции инфинитива в предложении
В простейших случаях английский инфинитив не отличается от
русского.
1. Если инфинитив стоит в начале предложения, а за ним стоит
сказуемое, то он выполняет функцию подлежащего и переводится
на русский язык инфинитивом или существительным:
To read is useful. – Читать полезно.
2. Инфинитив выполняет функцию части составного именного
сказуемого, если стоит после глагола to be, который
переводится
словами «состоит в том, чтобы», «заключается в том, чтобы» или
вообще не переводится:
The purpose of this test is to determine the mechanical characteristics of
the material. – Цель испытанияопределить механические
характеристики материала.
В сочетании с модальными глаголами и их эквивалентами
инфинитив выполняет функцию части составного глагольного
сказуемого:
9. Computer music
Computer music is any music in which computers are used to
transmit musical instructions to electronic instruments or live
performers. The transmissions are made in the form of electric
impulses, which are in turn reproduced in sounds. In the classic
computer music studio the following series of events occurs (direct
synthesis). The composer programs instructions into a computer in
a language that it understands. This is usually done through an
alphanumeric keyboard. The instructions are converted into
numbers. The computer performs the functions that the composer
has requested. A digital-to-analogue converter converts the
resultant information to varying voltages. These voltages drive one
or more loudspeakers thus creating sound.
Another compositional technique is analyses–based
synthesis. A spoken text is recorded digitally. The digitised speech
information is analysed and the resultant information is used to
recombine the speech sounds. Thus the computer both analyses and
synthesises sounds.
In yet another technique, acoustic sounds – natural or human-
made are digitally recorded then modified by the computer in a
manner similar to tape manipulation in concrete music.
The growing sophistication of the real time computer
performance techniques has freed computer music from
unconditional bondage to the studio. The popular 1983 invention
called MIDI (Musical Instrument Digital Interface) can expand the
capacity of the personal computer to equal or surpass that of a
professional studio system. Using the MIDI, information can be
communicated between computers, electronic keyboards,
synthesisers and any other necessary modules for the generation of
sound. Data to be communicated can include pitches, dynamic
levels, timbers and other elements common to musical
performance.
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