The Role of Pitch Range in Focus Marking
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Downstep and Recursive Phonological Phrases in Bàsàá (Bantu A43) Fatima Hamlaoui ZAS, Berlin; University of Toronto Emmanuel-Moselly Makasso ZAS, Berlin
Chapter 9 Downstep and recursive phonological phrases in Bàsàá (Bantu A43) Fatima Hamlaoui ZAS, Berlin; University of Toronto Emmanuel-Moselly Makasso ZAS, Berlin This paper identifies contexts in which a downstep is realized between consecu- tive H tones in absence of an intervening L tone in Bàsàá (Bantu A43, Cameroon). Based on evidence from simple sentences, we propose that this type of downstep is indicative of recursive prosodic phrasing. In particular, we propose that a down- step occurs between the phonological phrases that are immediately dominated by a maximal phonological phrase (휙max). 1 Introduction In their book on the relation between tone and intonation in African languages, Downing & Rialland (2016) describe the study of downtrends as almost being a field in itself in the field of prosody. In line with the considerable literature on the topic, they offer the following decomposition of downtrends: 1. Declination 2. Downdrift (or ‘automatic downstep’) 3. Downstep (or ‘non-automatic downstep’) 4. Final lowering 5. Register compression/expansion or register lowering/raising Fatima Hamlaoui & Emmanuel-Moselly Makasso. 2019. Downstep and recursive phonological phrases in Bàsàá (Bantu A43). In Emily Clem, Peter Jenks & Hannah Sande (eds.), Theory and description in African Linguistics: Selected papers from the47th Annual Conference on African Linguistics, 155–175. Berlin: Language Science Press. DOI:10.5281/zenodo.3367136 Fatima Hamlaoui & Emmanuel-Moselly Makasso In the present paper, which concentrates on Bàsàá, a Narrow Bantu language (A43 in Guthrie’s classification) spoken in the Centre and Littoral regions of Cameroon by approx. 300,000 speakers (Lewis et al. 2015), we will first briefly define and discuss declination and downdrift, as the language displays bothphe- nomena. -
5 Phonology Florian Lionnet and Larry M
5 Phonology Florian Lionnet and Larry M. Hyman 5.1. Introduction The historical relation between African and general phonology has been a mutu- ally beneficial one: the languages of the African continent provide some of the most interesting and, at times, unusual phonological phenomena, which have con- tributed to the development of phonology in quite central ways. This has been made possible by the careful descriptive work that has been done on African lan- guages, by linguists and non-linguists, and by Africanists and non-Africanists who have peeked in from time to time. Except for the click consonants of the Khoisan languages (which spill over onto some neighboring Bantu languages that have “borrowed” them), the phonological phenomena found in African languages are usually duplicated elsewhere on the globe, though not always in as concen- trated a fashion. The vast majority of African languages are tonal, and many also have vowel harmony (especially vowel height harmony and advanced tongue root [ATR] harmony). Not surprisingly, then, African languages have figured dispro- portionately in theoretical treatments of these two phenomena. On the other hand, if there is a phonological property where African languages are underrepresented, it would have to be stress systems – which rarely, if ever, achieve the complexity found in other (mostly non-tonal) languages. However, it should be noted that the languages of Africa have contributed significantly to virtually every other aspect of general phonology, and that the various developments of phonological theory have in turn often greatly contributed to a better understanding of the phonologies of African languages. Given the considerable diversity of the properties found in different parts of the continent, as well as in different genetic groups or areas, it will not be possible to provide a complete account of the phonological phenomena typically found in African languages, overviews of which are available in such works as Creissels (1994) and Clements (2000). -
The Colon As a Separate Prosodic Category: Tonal Evidence from Paicî (Oceanic, New Caledonia)
The Colon as a Separate Prosodic Category: Tonal Evidence from Paicî (Oceanic, New Caledonia) Florian Lionnet 1. Introduction This paper presents new evidence supporting the inclusion of the colon (κ) as a separate category in the Prosodic Hierarchy, on the basis of tonal data from Paicî, an Oceanic language of New Caledonia. The colon is a constituent intermediate between the foot and the word, made of two feet, as schematized in (1) (Stowell 1979; Halle & Clements 1983: 18-19; Hammond 1987; Hayes 1995: 119; Green 1997; a.o.). (1) Prosodic Word (!) [{(σσ)F t(σσ)F t}κ]! | Colon (κ) {(σσ)F t(σσ)F t}κ | Foot (F t) (σσ)F t(σσ)F t | Syllable (σ) σσσσ | Mora (µ) Justification for the colon (κ) rests mostly on the existence of tertiary stress. As clearly summarized by Green (1997: 102), “it is clear that in order to derive four levels of stress (primary, secondary, tertiary, unstressed), four levels of structure (prosodic word, colon, foot, syllable) are called for.” Colon-based analyses have so far been proposed for a dozen languages, listed in (2) below. (2) a. Passamaquoddy (Stowell 1979; Hayes 1995: 215-216; Green 1997: 104-109), b. Tiberian Hebrew (Dresher 1981), c. Garawa (Halle & Clements 1983: 20-21; Halle & Vergnaud 1987: 43; Hayes 1995: 202), d. Hungarian (Hammond 1987; Hayes 1995: 330; Green 1997: 102-104), e. Maithili (Hayes 1995: 149-162), f. Eastern Ojibwa (Hayes 1995: 216-218; Green 1997: 109-112), g. Asheninca (Hayes 1995: 288-296; Green 1997 112-114), h. the Neo-Štokavian dialect of Serbo-Croatian (Green 1997: 115-116), i. -
Part 1: Introduction to The
PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech. -
Morphological Sources of Phonological Length
Morphological Sources of Phonological Length by Anne Pycha B.A. (Brown University) 1993 M.A. (University of California, Berkeley) 2004 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Sharon Inkelas (chair) Professor Larry Hyman Professor Keith Johnson Professor Johanna Nichols Spring 2008 Abstract Morphological Sources of Phonological Length by Anne Pycha Doctor of Philosophy in Linguistics University of California, Berkeley Professor Sharon Inkelas, Chair This study presents and defends Resizing Theory, whose claim is that the overall size of a morpheme can serve as a basic unit of analysis for phonological alternations. Morphemes can increase their size by any number of strategies -- epenthesizing new segments, for example, or devoicing an existing segment (and thereby increasing its phonetic duration) -- but it is the fact of an increase, and not the particular strategy used to implement it, which is linguistically significant. Resizing Theory has some overlap with theories of fortition and lenition, but differs in that it uses the independently- verifiable parameter of size in place of an ad-hoc concept of “strength” and thereby encompasses a much greater range of phonological alternations. The theory makes three major predictions, each of which is supported with cross-linguistic evidence. First, seemingly disparate phonological alternations can achieve identical morphological effects, but only if they trigger the same direction of change in a morpheme’s size. Second, morpheme interactions can take complete control over phonological outputs, determining surface outputs when traditional features and segments fail to do so. -
The Role of Pitch Reset in Perception at Discourse Boundaries
ICPhS XVII Regular Session Hong Kong, 17-21 August 2011 THE ROLE OF PITCH RESET IN PERCEPTION AT DISCOURSE BOUNDARIES Hsin-Yi Lin & Janice Fon Graduate Institute of Linguistics, National Taiwan University, Taiwan [email protected]; [email protected] ABSTRACT pitch contours tend to be the same or on the same declining track [4, 5]. Such a melodic continuity The present study is targeted to investigate how can be broken by pitch reset for speakers to mark pitch reset as a boundary correlate functions in shift of topic or segmentation in discourse. The indicating structural information in discourse for second aspect is its ability to reflect hierarchical listeners. Two experiments were conducted: one status of a boundary. Many studies have indicated was a boundary detection test, and the other was a that the amount of pitch reset is bigger across boundary hierarchy rating test. Results of both discourse segments than within [6, 8, 11], experiments indicated that listeners indeed rely on suggesting that as boundaries become bigger, the the presence and the strength of pitch reset in amount of pitch reset is larger too, making it a nice decoding hierarchical segmentation in discourse. indicator in reflecting boundary hierarchy. Keywords: pitch reset, boundary correlate, As established in the above studies, speakers discourse boundary, discourse hierarchy, prosody use pitch reset, among other cues, to encode segmentation and hierarchical structure in 1. INTRODUCTION discourse. Therefore, the present study aims itself In human communication, discourse structure on investigating whether listeners also use this cue plays an important role in providing speakers with to decode discourse structure in speech. -
The Phonology of Tone and Intonation
This page intentionally left blank The Phonology of Tone and Intonation Tone and Intonation are two types of pitch variation, which are used by speak- ers of many languages in order to give shape to utterances. More specifically, tone encodes morphemes, and intonation gives utterances a further discoursal meaning that is independent of the meanings of the words themselves. In this comprehensive survey, Carlos Gussenhoven provides an up-to-date overview of research into tone and intonation, discussing why speakers vary their pitch, what pitch variations mean, and how they are integrated into our grammars. He also explains why intonation in part appears to be universally understood, while at other times it is language-specific and can lead to misunderstandings. The first eight chapters concern general topics: phonetic aspects of pitch mod- ulation; typological notions (stress, accent, tone, and intonation); the distinction between phonetic implementation and phonological representation; the paralin- guistic meaning of pitch variation; the phonology and phonetics of downtrends; developments from the Pierrehumbert–Beckman model; and tone and intona- tion in Optimality Theory. In chapters 9–15, the book’s central arguments are illustrated with comprehensive phonological descriptions – partly in OT – of the tonal and intonational systems of six languages, including Japanese, French, and English. Accompanying sound files can be found on the author’s web site: http://www.let.kun.nl/pti Carlos Gussenhoven is Professor and Chair of General and Experimental Phonology at the University of Nijmegen. He has previously published On the Grammar and Semantics of Sentence Accents (1994), English Pronunciation for Student Teachers (co-authored with A. -
The Perception and Production of Stress and Intonation by Children with Cochlear Implants
THE PERCEPTION AND PRODUCTION OF STRESS AND INTONATION BY CHILDREN WITH COCHLEAR IMPLANTS ROSEMARY O’HALPIN University College London Department of Phonetics & Linguistics A dissertation submitted to the University of London for the Degree of Doctor of Philosophy 2010 ii ABSTRACT Users of current cochlear implants have limited access to pitch information and hence to intonation in speech. This seems likely to have an important impact on prosodic perception. This thesis examines the perception and production of the prosody of stress in children with cochlear implants. The interdependence of perceptual cues to stress (pitch, timing and loudness) in English is well documented and each of these is considered in analyses of both perception and production. The subject group comprised 17 implanted (CI) children aged 5;7 to 16;11 and using ACE or SPEAK processing strategies. The aims are to establish (i) the extent to which stress and intonation are conveyed to CI children in synthesised bisyllables (BAba vs. baBA) involving controlled changes in F 0, duration and amplitude (Experiment I), and in natural speech involving compound vs. phrase stress and focus (Experiment II). (ii) when pitch cues are missing or are inaudible to the listeners, do other cues such as loudness or timing contribute to the perception of stress and intonation? (iii) whether CI subjects make appropriate use of F 0, duration and amplitude to convey linguistic focus in speech production (Experiment III). Results of Experiment I showed that seven of the subjects were unable to reliably hear pitch differences of 0.84 octaves. Most of the remaining subjects required a large (approx 0.5 octave) difference to reliably hear a pitch change. -
The J Tobi Model of Japanese Intonation Jennifer J
7 The J_ToBI Model of Japanese Intonation Jennifer J. Venditti 7.1. INTRODUCTION This chapter presents an overview of Japanese intonational structure and the transcription of this structure using J_ToBI,a variant of the general ToBI tagging scheme developed for Tokyo Japanese. Since the `Japanese ToBI Labelling Guidelines' (Venditti 1995) were ®rst distributed,J_ToBI has been used in numerous linguistic and computational contexts as a way to represent the intonation patterns of Japanese utterances. This chapter is intended not as a mere rehashing of the 1995 Guidelines,but rather as a comprehensive discussion of the fundamentals of Japanese intonation and the principles underlying the J_ToBI system. In Section 7.2,we describe the prosodic organization of Japanese and its intonational patterns.1 We discuss Japanese prosody from a cross-linguistic perspective,highlighting similarities between Japanese and other languages. Section 7.3 then provides an overview of the J_ToBI system. The discussion assumes the reader has some familiarity with intonation description,and with the general ToBI framework. Section 7.4 points out the differences between this new system and its predecessor,the Beckman±Pierrehumbert model presented in Japanese Tone Structure (Pierrehumbert and Beckman 1988). Section 7.5 gives an overview of the efforts toward automatization The author would like to thank Mary Beckman,Sun-Ah Jun,and Kikuo Maekawa for insightful discussions and comments throughout the ongoing development of the Japanese ToBI system. 1 This discussion and the J_ToBI system itself rely heavily on the model of Japanese tone structure put forth by Beckman and Pierrehumbert (see Beckman and Pierrehumbert 1986; Pierrehumbert and Beckman 1988, inter alia),which uses a tone-sequence approach to intonation modelling. -
The Effects of Duration and Sonority on Contour Tone Distribution— Typological Survey and Formal Analysis
The Effects of Duration and Sonority on Contour Tone Distribution— Typological Survey and Formal Analysis Jie Zhang For my family Table of Contents Acknowledgments xi 1 Background 3 1.1 Two Examples of Contour Tone Distribution 3 1.1.1 Contour Tones on Long Vowels Only 3 1.1.2 Contour Tones on Stressed Syllables Only 8 1.2 Questions Raised by the Examples 9 1.3 How This Work Evaluates The Different Predictions 11 1.3.1 A Survey of Contour Tone Distribution 11 1.3.2 Instrumental Case Studies 11 1.4 Putting Contour Tone Distribution in a Bigger Picture 13 1.4.1 Phonetically-Driven Phonology 13 1.4.2 Positional Prominence 14 1.4.3 Competing Approaches to Positional Prominence 16 1.5 Outline 20 2 The Phonetics of Contour Tones 23 2.1 Overview 23 2.2 The Importance of Sonority for Contour Tone Bearing 23 2.3 The Importance of Duration for Contour Tone Bearing 24 2.4 The Irrelevance of Onsets to Contour Tone Bearing 26 2.5 Local Conclusion 27 3 Empirical Predictions of Different Approaches 29 3.1 Overview 29 3.2 Defining CCONTOUR and Tonal Complexity 29 3.3 Phonological Factors That Influence Duration and Sonority of the Rime 32 3.4 Predictions of Contour Tone Distribution by Different Approaches 34 3.4.1 The Direct Approach 34 3.4.2 Contrast-Specific Positional Markedness 38 3.4.3 General-Purpose Positional Markedness 41 vii viii Table of Contents 3.4.4 The Moraic Approach 42 3.5 Local Conclusion 43 4 The Role of Contrast-Specific Phonetics in Contour Tone Distribution: A Survey 45 4.1 Overview of the Survey 45 4.2 Segmental Composition 48 -
Tone & Intonation
Tone & Intonation Tone • Linguistic uses of pitch (f0) gestures • Two contrasting tones (or pitch gestures): H, L • Complex tonal patterns can be decomposed into sequences of H and L. • Tone gestures and sequences of tone gestures can be coordinated with (coupled to): • syllables (“lexical tone”) — distinguish lexical items • words (“pitch accent”) — distinguish lexical items • phrases (“intonation”) — distinguish syntactic and pragmatic structures. Assignment to Syllables: Register Tones • can be used to contrast lexical items • used in a majority of the world’s languages Yoruba (Nigeria) Hombert, 1976 Shona (Zimbabwe) Bini (Nigeria) F0 of [wa] of F0 up to 5 contrastive tone levels: how do they result from H, L?? H and L tones in Embosi (Bantu Language in Congo) H L Contours • Multiple pitch gesture per syllable: contour tone • Pitch gestures may not have their own syllable to be coupled to. • Or, their coupled vowels may be elided in running speech when adjacent to another vowel. • They can then be coordinated with a preceding or following syllable creating a tonal sequence. Etsako (Nigeria) Shekgalagari (Bantu, Botswana) (Hyman & Monaka, 2011) Assignment of Tone Sequences to Syllables: Contour Tones • Tonal sequence can contrast lexical items Standard Chinese Gao (2006) Coupling Assignment of Tone Sequences to Words: Pitch Accents • Words can contrast in terms of pitch gestures assigned to them, but not every syllable can independently bear pitch gestures. • Words contrast in accent type: 2 Croatian sequences of pitch gestures. • Early rise (L+H* L-L%) /mlada/ 'the bride' • Late rise (L*+H L-L%) /mara/ proper name (‘Mara’) • Patterns are "strung out" over words of 2- or 3- syllable words. -
The Acquisition of Mandarin Prosody by American Learners of Chinese As a Foreign Language
The Acquisition of Mandarin Prosody by American Learners of Chinese as a Foreign Language (CFL) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Chunsheng Yang, B.A., M.A. Graduate Program in East Asian Languages and Literatures The Ohio State University 2011 Dissertation Committee: Dr. Marjorie K.M. Chan, Advisor Dr. Mary E. Beckman Dr. Cynthia Clopper Dr. Mineharu Nakayama Copyright by Chunsheng Yang 2011 ABSTRACT In the acquisition of second language (L2) or foreign language (FL) pronunciation, learners not only learn how to pronounce consonants and vowels (tones as well, in the case of tone languages, such as Mandarin Chinese), they also learn how to produce the vowel reduction, vowel-consonant co-articulation, and prosody. Central to this dissertation is prosody, which refers to the way that an utterance is broken up into smaller units, and the acoustic patterns of each unit at different levels, in terms of fundamental frequency (F0), duration and amplitude. In L2 pronunciation, prosody is as important as -- if not more important than -- consonants and vowels. This dissertation examines the acquisition of Mandarin prosody by American learners of Chinese as a Foreign Language (CFL). Specifically, it examines four aspects of Mandarin prosody: (1) prosodic phrasing (i.e., breaking up of utterances into smaller units); (2) surface F0 and duration patterns of prosodic phrasing in a group of sentence productions elicited from L1 and L2 speakers of Mandarin Chinese; (3) patterns of tones errors in L2 Mandarin productions; and (4) the relationship between tone errors and prosodic phrasing in L2 Mandarin.