Phonemic Vs. Derived Glides
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Consonant Gradation in Estonian and Sámi: Two-Level Solution TROND TROSTERUD and HELI UIBO
14 Consonant Gradation in Estonian and Sámi: Two-Level Solution TROND TROSTERUD AND HELI UIBO 14.1 Introduction Koskenniemi’s two-level morphology was the first practical general model in the history of computational linguistics for the analysis of morphologi- cally complex languages. In this article we will reconsider one of the key innovations in Koskenniemi (1983), namely the treatment of consonant gra- dation in finite state transducers. We will look not at Finnish, but at two lan- guages with a more extensive consonant gradation system, namely Estonian and Sámi. The goal of the paper is to demonstrate two different ways of mod- eling consonant gradation in a finite state morphological system - lexical and morphophonological. We will also compare the resulting systems by their computational complexity and human-readability. Consonant gradation is rare among the languages of the world, but stem al- ternation in itself is not, and the treatment of consonant gradation can readily be transferred to other stem alternation phenomena. Koskenniemi’s original idea was to see stem alternation as an agglutinative phenomenon. Consider the example (14.1), showing a two-level representation of stem alternation. ehT e$:ehe (14.1) Here the $ sign is a quasi-suffix, introduced to trigger consonant grada- tion in the stem. Two-level rules decide the correspondence of T to surface phonemes t or 0 (empty symbol), based on the context, specifically, according to the presence or absence of the symbol $ in the right context. Another type of rules for handling stem alternations that can be compiled Inquiries into Words, Constraints and Contexts. -
Consonant Gradation in Finnish Dialects
Consonant Gradation in Finnish Dialects Consonant gradation is a lenition process common to most of the Finnic languages. In Finnish it is now only partly productive phonologically in that it rarely affects recent loans and neologisms. However, it is still pervasive in the lexicon and is very much a part of Finnish phonology. Gradation in Finnish affects geminate and singleton voiceless stops preceding a short vowel in a closed syllable. The geminates shorten (quantitative gradation) and the singletons undergo various lenition processes (qualitative gradation), depending on the environment, the dialect, and a range of sociolinguistic factors (see 1). However, within the Finnish dialects, there is much variation within qualitative gradation, especially for the coronal (see 2). The goal of this paper is to provide an account of qualitative gradation that takes into consideration the kind of variation that exists between dialects as shown in Kettunen’s (1940) dialect atlas. There are five main patterns in the data, as shown in table 1. In all cases /p/ lenites to [ʋ]. The /t/ may lenite, take on place features from an adjacent vowel, or delete while /k/ may either assimilate to place features of an adjacent vowel or delete. That deletion is disfavoured for either segment suggests that there is a strong requirement to retain the consonant. Finally, the lenition of /t/ simply needs to result in a non-nasal coronal if there is not assimilation to a vowel. In this paper I provide an account of the conditions for assimilation to vowels. Assimilation is most likely to occur when the sequence of vowels that would result from deletion would create hiatus. -
Turkish Vowel Harmony: Underspecification, Iteration, Multiple Rules
Turkish vowel harmony: Underspecification, iteration, multiple rules LING 451/551 Spring 2011 Prof. Hargus Data • Turkish data on handout. [a] represents a low back unrounded vowel (more standardly [ɑ]). Morphological analysis and morpheme alternants • Words in Turkish – root alone – root followed by one or two suffixes • Suffixes – plural suffix, -[ler] ~ -[lar] – genitive suffix, -[in] ~ -[un] ~ -[ün] ~ -[ɨn] • Order of morphemes – root - plural - genitive Possible vowel features i ɨ u ü e a o ö high + + + + - - - - low - - - - - + - - back - + + - - + + - front + - - + + - - + round - - + + - - + + Distinctive features of vowels i ɨ u ü e a o ö high + + + + - - - - back - + + - - + + - round - - + + - - + + ([front] could be used instead of [back].) Values of [low] are redundant: V -high [+low] +back -round Otherwise: V [-low] Distribution of suffix alternants • Plural suffix – -[ler] / front vowels C(C) ___ – -[lar] / back vowels C(C) ___ • Genitive suffix – -[in] / front non-round vowels C(C) ___ – -[ün] / front round vowels C(C) ___ – -[ɨn] / back non-round vowels C(C) ___ – -[un] / back round vowels C(C) ___ Subscript and superscript convention • C1 = one or more consonants: C, CC, CCC, etc. • C0 = zero or more consonants: 0, C, CC, CCC, etc. • C1 = at most one consonant: 0, C 2 • C1 = minimum one, maximum 2 C: C(C) Analysis of alternating morphemes • Symmetrical distribution of suffix alternants • No non-alternating suffixes No single suffix alternant can be elevated to UR URs • UR = what all suffixes have in common • genitive: -/ V n/ [+high] (values of [back] and [round] will be added to match preceding vowel) an underspecified vowel, or ―archiphoneme‖ (Odden p. 239) Backness Harmony • Both high and non-high suffixes assimilate in backness to a preceding vowel • Backness Harmony: V --> [+ back] / V C0 ____ [+back] V --> [-back] / V C0 ____ [-back] (―collapsed‖) V --> [ back] / V C0 ____ [ back] (This is essentially the same as Hayes‘ [featurei].. -
Two Statistical Approaches to Finding Vowel Harmony
Two Statistical Approaches to Finding Vowel Harmony Adam C. Baker University of Chicago [email protected] July 27, 2009 Abstract The present study examines two methods for learning and modeling vowel harmony from text corpora. The first uses Expectation Maximization with Hidden Markov Mod- els to find the most probable HMM for a training corpus. The second uses pointwise Mutual Information between distant vowels in a Boltzmann distribution, along with the Minimal Description Length principle to find and model vowel harmony. Both methods correctly detect vowel harmony in Finnish and Turkish, and correctly recognize that English and Italian have no vowel harmony. HMMs easily model the transparent neu- tral vowels in Finnish vowel harmony, but have difficulty modeling secondary rounding harmony in Turkish. The Boltzmann model correctly captures secondary roundness harmony and the opacity of low vowels in roundness harmony in Turkish, but has more trouble capturing the transparency of neutral vowels in Finnish. 1 Introduction: Vowel Harmony and Unsupervised Learning The problem of child language acquisition has been a driving concern of modern theoret- ical linguistics since at least the 1950s. But traditional linguistic research has focused on constructing models like the Optimality Theory model of phonology (Prince and Smolensky, 2004). Learning models for those theories like the OT learning theory in Riggle (2004) are 1 sought later to explain how a child could learn a grammar. A lot of recent research in computational linguistics has turned this trend around. Break- throughs in artificial intelligence and speech processing in the '80s has lead many phonologists starting from models with well-known learning algorithms and using those models to extract phonological analyses from naturally occurring speech (for an overview and implications, see Seidenberg, 1997). -
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. -
An Analysis of I-Umlaut in Old English
An Analysis of I-Umlaut in Old English Meizi Piao (Seoul National University) Meizi Piao. 2012. An Analysis of I-Umlaut in Old English. SNU Working Papers in English Linguistics and Language X, XX-XX Lass (1994) calls the period from Proto-Germanic to historical Old English ‘The Age of Harmony’. Among the harmony processes in this period, i-umlaut has been considered as ‘one of the most far-reaching and important sound changes’ (Hogg 1992, Lass 1994) or as ‘one of the least controversial sound changes’ (Colman 2005). This paper tries to analyze i-umlaut in Old English within the framework of the Autosegmental theory and the Optimality theory, and explain how suffix i or j in the unstressed syllable cause the stem vowels in the stressed syllable to be fronted or raised. (Seoul National University) Keywords: I-umlaut, Old English, Autosegmental theory, vowel harmony Optimality theory 1. Introduction Old English is an early form of the English language that was spoken and written by the Anglo-Saxons and their descendants in the area now known as England between at least the mid-5th century to the mid-12th century. It is a West Germanic language closely related to Old Frisian. During the period of Old English, one of the most important phonological processes is umlaut, which especially affects vowels, and become the reason for the superficially irregular and unrelated Modern English phenomenon. I-Umlaut is the conditioned sound change that the vowel either moves directly forward in the mouth [u>y, o>e, A>&] or forward and up [A>&>e]. -
From Dilation to Coarticulation: Is There Vowel Harmony in French? Zsuzsanna Fagyal, Noël Nguyen, Philippe Boula De Mareüil
From dilation to coarticulation: is there vowel harmony in French? Zsuzsanna Fagyal, Noël Nguyen, Philippe Boula de Mareüil To cite this version: Zsuzsanna Fagyal, Noël Nguyen, Philippe Boula de Mareüil. From dilation to coarticulation: is there vowel harmony in French?. Studies in the linguistic sciences, Urbana, Ill. : Department of Linguistics, University of Illinois, 2003, 32 (2), pp.1-21. hal-00308395 HAL Id: hal-00308395 https://hal.archives-ouvertes.fr/hal-00308395 Submitted on 30 Jul 2008 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Studies in the Linguistic Sciences Volume 32, Number 2 (Spring 2002) FROM DILATION TO COARTICULATION: IS THERE VOWEL HARMONY IN FRENCH ? Zsuzsanna Fagyal*, Noël Nguyen#, and Philippe Boula de Mareüil± *University of Illinois at Urbana-Champaign # Laboratoire Parole et Langage, CNRS & Université de Provence, Aix-en- Provence, France ± LIMSI, CNRS, Orsay [email protected] This paper presents the preliminary results of an acoustic study, and a review of previous work on vowel harmony in French. It shows that harmony, initially regarded as regular sound change, is considered an optional constraint on the distribution of mid vowels. Acoustic evidence of anticipatory assimilation of pretonic mid vowels to tonic high and low vowels is shown in three speakers' readings of disyllabic words in two dialects. -
Kalevala Verses
;-~~'<iF%2iFi Ie .' I YYdC e. "', -J.. L~ fA=)J 1 "'r METRICS AND MORPHOPHONEMICS IN THE KALE~ALA If PAUL KIPARSKY MASSACHUSETTS INSTITUTE OF TECHNOLOGY 'Il' I." The prosody of Finnish epic folk poetry has been described, with clarity and in detail, in Sadeniemi's Metrik des Kalevala Verses. 1 This material has important implications for a general theory of prosody which have not yet been drawn. To point out some of these is one of the purposes of the following remarks. Another is to demonstrate that what seem to be systematic class es of exceptions to the general metrical rules established by Sadeniemi actually turn out to be fully regular as soon as jus tice is done to the phonological structure of the Finnish lan guage. Of the three sections of this paper, the first simply summarizes, and in part slightly reformulates, the essential fea r t ':>S tures of the Kalevala line as stated by Sadeniemi. Section two ,'. es is a discussion of alliteration, in which a new solution is g~ven f to the paradox of vowel (or zero) alliteration. Section three ·.'()k analyzes the specific form of the phonological representations \.- to which the metrical constraints must apply. Towards the end of the paper I indulge in some speculation about the role of sound change and morphophonemics, and their interaction, in the development of metrical systems. 1. The Metrical Structure of the Line The Kalevala is composed of octosyllabic lines in which the distribution of quantity and stress is subject to certain re strictions. For example, while the following three lines are correctly formed Luvan antoi suuri Luoja 'The great Creator gave per mission' Sel~ssa meren sinisen 'On the expanse of the blue sea' Oi Ukko ylijumala '0 Ukko, supreme god' these two, likewise octosyllabic, violate the metrical rules: Rakas oli oma emo 'Dear was (my) own mother' Vanhalla Vainamoisella 'Old V~inamoinen (adessive)' To formulate the constraints on quantity and stress it is neces sary to assume an underlying trochaic meter for all lines of the 1. -
21. Vowel Height : the Blackwell Companion To
Bibliographic Details The Blackwell Companion to Phonology Edited by: Marc van Oostendorp, Colin J. Ewen, Elizabeth Hume and Keren Rice eISBN:21. Vowel 9781405184236 Height DouglasPrint publication Pulleyblank date: 2011 Sections 1 Introduction 2 Phonetics of vowel height 3 Vowel height typology 4 Phonological height patterns 5 Features for height 6 Conclusion Notes ACKNOWLEDGMENS REFERENCES 1 Introduction While all languages have vowels, and all vowels can be described as having a height,1 actually defining vowel height turns out to be a rather interesting problem (see also CHAPTER 1919: VOWEL PLACE). Consider the systems in (1). It would be fairly uncontroversial to assume that a two-vowel system such as (1a) distinguishes between two vowel heights and that a five-vowel system such as (1b) distinguishes between three heights (although see below). The number of “heights” in the seven- and ten-vowel systems, however, depends on various factors. One view of a ten-vowel system such as (1d) is that it involves three “heights” (high, mid, low) cross-cut by a tongue-root feature; an alternative is that such a system involves a highly differentiated height feature with six heights. A seven-vowel pattern such as (1c) presents more analytic indeterminacy. One possibility is to analyze such a pattern as a simplified version of the ten-vowel system: a three-height system with a tongue-root distinction in the mid vowels, or a four-height system with a differentiated height pattern as in (1d), but with four rather than six distinctions. An additional possibility is to consider the seven-vowel and ten-vowel systems to be qualitatively different: while a ten-vowel inventory like (1d) could be analyzed as involving three heights plus a tongue-root distinction, a seven-vowel inventory like (1c) could be seen as involving four heights (and no tongue-root distinction). -
Turkish Vowel Epenthesis
Turkish vowel epenthesis Jorge Hankamer Introduction One of the striking features of Turkish morphophonology is the system of C~0 and V~0 alternations at morpheme boundaries, which seem to conspire to prevent the occurrence of a stem-final V and a suffix-initial V next to each other. The classic analysis of this phenomenon was provided by Lees (1961), and has been generally accepted since. Zimmer (1965, 1970), however, noticed a flaw in the Lees analysis, and proposed a correction, which will be discussed in section 2. The present paper argues that there is a second flaw in the Lees analysis, and one that weakens the case for Zimmer’s proposed correction. Instead, I propose a more radical reanalysis of the phenomenon, in which most of the V~0 alternations are due not to vowel deletions, as in the Lees analysis, but to vowel epenthesis.This raises some theoretically interesting questions. 1 The V~0 alternation Turkish,1 with certain exceptions,2 does not permit VV sequences within words. Thus, while both V-initial and V-final syllables are permitted, VV sequences are avoided both _________________ 1 The variety of Turkish investigated here is “Modern Standard Turkish”, cf. Lees 1961, Lewis 1967. 2 There are four classes of exceptions: (i) some borrowed roots which originally had a glottal stop either between vowels or at the end of the root (the glottal stop being lost in modern Turkish) have VV root-internally or V+V with a V-initial suffix: saat ‘hour,clock’ <Arabic sa?at şair ‘poet’ <Arabic şa?ir camii ‘mosque-poss’ <cami? + (s)I (ii) Turkish words with syllable-initial ğ (“yumuşak ge”) have VV superficially due to the zero realization of the ğ: kağıt ‘paper’ dağı < dağ + (y)I ‘mountain-acc’ geleceği < gel + AcAg+I ‘come-fut-poss’ Commonly, the first vowel is just pronounced long. -
78. 78. Nasal Harmony Nasal Harmony
Bibliographic Details The Blackwell Companion to Phonology Edited by: Marc van Oostendorp, Colin J. Ewen, Elizabeth Hume and Keren Rice eISBN: 9781405184236 Print publication date: 2011 78. Nasal Harmony RACHEL WWALKER Subject Theoretical Linguistics » Phonology DOI: 10.1111/b.9781405184236.2011.00080.x Sections 1 Nasal vowel–consonant harmony with opaque segments 2 Nasal vowel–consonant harmony with transparent segments 3 Nasal consonant harmony 4 Directionality 5 Conclusion ACKNOWLEDGMENTS Notes REFERENCES Nasal harmony refers to phonological patterns where nasalization is transmitted in long-distance fashion. The long-distance nature of nasal harmony can be met by the transmission of nasalization either to a series of segments or to a non-adjacent segment. Nasal harmony usually occurs within words or a smaller domain, either morphologically or prosodically defined. This chapter introduces the chief characteristics of nasal harmony patterns with exemplification, and highlights related theoretical themes. It focuses primarily on the different roles that segments can play in nasal harmony, and the typological properties to which they give rise. The following terminological conventions will be assumed. A trigger is a segment that initiates nasal harmony. A target is a segment that undergoes harmony. An opaque segment or blocker halts nasal harmony. A transparent segment is one that does not display nasalization within a span of nasal harmony, but does not halt harmony from transmitting beyond it. Three broad categories of nasal harmony are considered in this chapter. They are (i) nasal vowel–consonant harmony with opaque segments, (ii) nasal vowel– consonant harmony with transparent segments, and (iii) nasal consonant harmony. Each of these groups of systems show characteristic hallmarks. -
LINGUISTICS 221 LECTURE #13 Phonological Alternations (=Phonological Processes) 1. ASSIMILATION the Influence of One Segment U
LINGUISTICS 221 LECTURE #13 Introduction to Phonetics and Phonology Phonological Alternations (=phonological processes) Part 1. 1. ASSIMILATION The influence of one segment upon another so that the sounds become more alike or identical. (i) Consonant assimilates vowel features Russian: stol table stolje (Loc.Sg.) vkus taste (N) vkusjen tasty dar gift darjit to give dom house domjisko cottage bomba bomb bombjit to bomb PALATALIZATION OF CONSONANTS BEFORE FRONT VOWELS. Nupe (a West African language): egji child egwu mud egje beer egwo grass PALATALIZATION OF CONSONANTS BEFORE FRONT VOWELS; LABIALIZATION BEFORE ROUNDED VOWELS. (ii) Vowel assimilates consonant features English: see [i] seen [i~] cat [æ] can't [æ~] VOWELS ARE NASALIZED WHEN ADJACENT TO A NASAL CONSONANT IN THE SAME SYLLABLE. 1 Chatino (spoken in Mexico): tijé÷ lime tihí≤ hard kinó sandal ki≤sú avocado suwí clean su≤÷wá you send la÷á side ta≤÷á fiesta ngutá seed kutá≤ you will give kít fire ki≤tá you will wait UNSTRESSED VOWELS ARE VOICELESS BETWEEN VOICELESS CONSONANTS. (iii) Consonant assimilates consonant features Yoruba: ba hide mba is hiding fø break mfø is breaking t´ spread nt´ is spreading sun sleep nsun is sleeping kø write ˜kø is writing wa come ˜wa is coming THE NASAL CONSONANT BECOMES HOMORGANIC WITH A FOLLOWING CONSONANT. English: cups [s] cubs [z] raced [t] raised [z] backs [s] bags [z] backed [t] bagged [d] THE ENDINGS FOR THE PLURAL, THIRD PERSON SINGULAR, AND THE PAST TENSE, AGREE IN VOICING WITH A PRECEDING CONSONANT. 2 (iv). Vowel assimilates vowel features Turkish: diß tooth dißim my tooth ev house evim my house gönül heart gönülüm my heart göz eye gözüm my eye baß head baßπm my head kol arm kolum my arm VOWEL HARMONY: VOWELS AGREE IN CERTAIN FEATURES.