5 Phonology Florian Lionnet and Larry M
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
T3 Sandhi Rules of Different Prosodic Hierarchies
T3 Sandhi rules of different prosodic hierarchies Abstract This study conducts acoustic analysis on T3 sandhi of two characters across different boundaries of prosodic hierarchies. The experimental data partly support Chen (2000)’s view about sandhi domain that “T3 sandhi takes place obligatorily within MRU”, and “sandhi rule can not apply cross intonation phrase boundary”. Nonetheless, the results do not support his claim that “there are no intermediate sandhi hierarchies between MRU and intonation phrase”. On the contrary, it is found that, although T3 sandhi could occur across all kinds of hierarchical boundaries between MRU and intonation phrase, T3 sandhi rules within a foot (prosodic word), or between foots without pause, or between pauses without intonation (phonology phrase) are very different in terms of acoustic properties. Furthermore, based on the facts that (1) T3 sandhi could occur cross boundary of pauses and (2) phrase-final sandhi could be significantly lengthening, it is argued that T3 sandhi is due to dissimilation of low tones, rather than duration reduction within MRU domain. It is also demonstrated that tone sandhi and prosodic hierarchies may not be equivalently evaluated in Chinese phonology. Prosodic hierarchies are determined by pause and lengthening, not by tone sandhi. Key words: tone sandhi; prosodic hierarchies; boundary; Mandarin Chinese 1 Introduction So-called T3 sandhi in mandarin Chinese has been widely discussed in Chinese Phonology. Mandarin Chinese has four tones: T1 (level 55), T2 (rising 35), T3 (low-rise 214), T4 (falling 51).Generally, when a T3 is followed by another T3, it turns into T2. The rule could be simply stated as: 214->35/ ___214. -
The Cambridge Handbook of Phonology
This page intentionally left blank The Cambridge Handbook of Phonology Phonology – the study of how the sounds of speech are represented in our minds – is one of the core areas of linguistic theory, and is central to the study of human language. This state-of-the-art handbook brings together the world’s leading experts in phonology to present the most comprehensive and detailed overview of the field to date. Focusing on the most recent research and the most influential theories, the authors discuss each of the central issues in phonological theory, explore a variety of empirical phenomena, and show how phonology interacts with other aspects of language such as syntax, morph- ology, phonetics, and language acquisition. Providing a one-stop guide to every aspect of this important field, The Cambridge Handbook of Phonology will serve as an invaluable source of readings for advanced undergraduate and graduate students, an informative overview for linguists, and a useful starting point for anyone beginning phonological research. PAUL DE LACY is Assistant Professor in the Department of Linguistics, Rutgers University. His publications include Markedness: Reduction and Preservation in Phonology (Cambridge University Press, 2006). The Cambridge Handbook of Phonology Edited by Paul de Lacy CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521848794 © Cambridge University Press 2007 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
A Constraint-Based Analysis of Obligatory Contour Principle in Anaang Morphological Constructions
ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 12, No. 3, pp. 466-476, May 2021 DOI: http://dx.doi.org/10.17507/jltr.1203.17 A Constraint-based Analysis of Obligatory Contour Principle in Anaang Morphological Constructions Unwana Akpabio Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria Olusanmi Babarinde Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria George Iloene Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria Abstract—The obligatory contour principle forbids identical consecutive features in the underlying representation. This work undertakes a description of the Anaang tonal structure, the tonal behaviour of compounds and reduplicates in the language, bearing in mind their sensitivity to the OCP and the environments that trigger the adherence. An adapted Ibadan wordlist of 400 Basic Items (Trial) English version was used via interview for data collection from six men and six women within Abak Local Government Area in Akwa Ibom State. The data were analysed using optimality theoretical framework. The analysis shows that Anaang compounds as well as reduplicates exhibit cases of tonal modifications in line with OCP. For compounds, the tone of the second noun changes depending on the tonal sequence. In the HH noun base, the second-high tone of the second noun changes to a low tone, in the LH noun base, the tone of the second noun is raised to a down-stepped high tone, the LL noun base sees the tone of the second noun being raised to a high tone. -
1 Consonant Harmony in Child Language
1 Consonant Harmony in Child Language: An Optimality-theoretic Account* Heather Goad Department of Linguistics, McGill University [email protected] Ms. dated 1995. Currently in press in S.J. Hannahs & M. Young-Scholten Focus on phonological acquisition. Amsterdam: John Benjamins, pp. 113-142. Abstract An analysis is provided of the consonant harmony (CH) patterns exhibited in the speech of one child, Amahl at Stage 1 (data from Smith 1973). It is argued that the standard rule-based analysis which involves Coronal underspecification and planar segregation is not tenable. First, the data reveal an underspecification paradox: coronal consonants are targets for CH and should thus be unspecified for Coronal. However, they also trigger harmony, in words where the targets are liquids. Second, the data are not consistent with planar segregation, as one harmony pattern is productive beyond the point when AmahlÕs grammar satisfies the requirements for planar segregation (set forth in McCarthy 1989). An alternative analysis is proposed within the constraint-based framework of Optimality Theory (Prince & Smolensky 1993). It is argued that CH follows from the relative ranking of constraints which parse place features and those which align features with the edges of the prosodic word. With the constraints responsible for parsing and aligning Labial and Dorsal ranked above those responsible for parsing and aligning Coronal, the dual behaviour of coronals can be captured. The effect of planar segregation follows from other independently motivated constraints which force alignment to be satisfied through copying of segmental material, not through spreading. Keywords: first language acquisition, consonant harmony, underspecification paradox 1. -
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. -
Replacive Grammatical Tone in the Dogon Languages
University of California Los Angeles Replacive grammatical tone in the Dogon languages A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Linguistics by Laura Elizabeth McPherson 2014 c Copyright by Laura Elizabeth McPherson 2014 Abstract of the Dissertation Replacive grammatical tone in the Dogon languages by Laura Elizabeth McPherson Doctor of Philosophy in Linguistics University of California, Los Angeles, 2014 Professor Russell Schuh, Co-chair Professor Bruce Hayes, Co-chair This dissertation focuses on replacive grammatical tone in the Dogon languages of Mali, where a word’s lexical tone is replaced with a tonal overlay in specific morphosyntactic contexts. Unlike more typologically common systems of replacive tone, where overlays are triggered by morphemes or morphological features and are confined to a single word, Dogon overlays in the DP may span multiple words and are triggered by other words in the phrase. DP elements are divided into two categories: controllers (those elements that trigger tonal overlays) and non-controllers (those elements that impose no tonal demands on surrounding words). I show that controller status and the phonological content of the associated tonal overlay is dependent on syntactic category. Further, I show that a controller can only impose its overlay on words that it c-commands, or itself. I argue that the sensitivity to specific details of syntactic category and structure indicate that Dogon replacive tone is not synchronically a phonological system, though its origins almost certainly lie in regular phrasal phonology. Drawing on inspiration from Construction Morphology, I develop a morphological framework in which morphology is defined as the id- iosyncratic mapping of phonological, syntactic, and semantic information, explicitly learned by speakers in the form of a construction. -
Options for a National Culture Symbol of Cameroon: Can the Bamenda Grassfields Traditional Dress Fit?
EAS Journal of Humanities and Cultural Studies Abbreviated Key Title: EAS J Humanit Cult Stud ISSN: 2663-0958 (Print) & ISSN: 2663-6743 (Online) Published By East African Scholars Publisher, Kenya Volume-2 | Issue-1| Jan-Feb-2020 | DOI: 10.36349/easjhcs.2020.v02i01.003 Research Article Options for a National Culture Symbol of Cameroon: Can the Bamenda Grassfields Traditional Dress Fit? Venantius Kum NGWOH Ph.D* Department of History Faculty of Arts University of Buea, Cameroon Abstract: The national symbols of Cameroon like flag, anthem, coat of arms and seal do not Article History in any way reveal her cultural background because of the political inclination of these signs. Received: 14.01.2020 In global sporting events and gatherings like World Cup and international conferences Accepted: 28.12.2020 respectively, participants who appear in traditional costume usually easily reveal their Published: 17.02.2020 nationalities. The Ghanaian Kente, Kenyan Kitenge, Nigerian Yoruba outfit, Moroccan Journal homepage: Djellaba or Indian Dhoti serve as national cultural insignia of their respective countries. The https://www.easpublisher.com/easjhcs reason why Cameroon is referred in tourist circles as a cultural mosaic is that she harbours numerous strands of culture including indigenous, Gaullist or Francophone and Anglo- Quick Response Code Saxon or Anglophone. Although aspects of indigenous culture, which have been grouped into four spheres, namely Fang-Beti, Grassfields, Sawa and Sudano-Sahelian, are dotted all over the country in multiple ways, Cameroon cannot still boast of a national culture emblem. The purpose of this article is to define the major components of a Cameroonian national culture and further identify which of them can be used as an acceptable domestic cultural device. -
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. -
A Typology of Consonant Agreement As Correspondence
A TYPOLOGY OF CONSONANT AGREEMENT AS CORRESPONDENCE SHARON ROSE RACHEL WALKER University of California, San Diego University of Southern California This article presents a typology of consonant harmony or LONG DISTANCE CONSONANT AGREEMENT that is analyzed as arisingthroughcorrespondence relations between consonants rather than feature spreading. The model covers a range of agreement patterns (nasal, laryngeal, liquid, coronal, dorsal) and offers several advantages. Similarity of agreeing consonants is central to the typology and is incorporated directly into the constraints drivingcorrespondence. Agreementby correspon- dence without feature spreadingcaptures the neutrality of interveningsegments,which neither block nor undergo. Case studies of laryngeal agreement and nasal agreement are presented, demon- stratingthe model’s capacity to capture varyingdegreesof similarity crosslinguistically.* 1. INTRODUCTION. The action at a distance that is characteristic of CONSONANT HAR- MONIES stands as a pivotal problem to be addressed by phonological theory. Consider the nasal alternations in the Bantu language, Kikongo (Meinhof 1932, Dereau 1955, Webb 1965, Ao 1991, Odden 1994, Piggott 1996). In this language, the voiced stop in the suffix [-idi] in la is realized as [ini] in 1b when preceded by a nasal consonant at any distance in the stem constituent, consistingof root and suffixes. (1) a. m-[bud-idi]stem ‘I hit’ b. tu-[kun-ini]stem ‘we planted’ n-[suk-idi]stem ‘I washed’ tu-[nik-ini]stem ‘we ground’ In addition to the alternation in 1, there are no Kikongo roots containing a nasal followed by a voiced stop, confirmingthat nasal harmony or AGREEMENT, as we term it, also holds at the root level as a MORPHEME STRUCTURE CONSTRAINT (MSC). -
The Oxford Guide to the Bantu Languages
submitted for The Oxford Guide to the Bantu Languages Bantu languages: Typology and variation Denis Creissels (3rd draft, August 12 2019) 1. Introduction With over 400 languages, the Bantu family provides an excellent empirical base for typological and comparative studies, and is particularly well suited to the study of microvariation (cf. Bloom & Petzell (this volume), Marlo (this volume)). This chapter provides an overview of the broad typological profile of Bantu languages, and of the major patterns and parameters of variation within the family. Inheritance from Proto-Bantu and uninterrupted contact between Bantu languages are certainly responsible for their relative typological homogeneity. It is however remarkable that the departures from the basic phonological and morphosyntactic structure inherited from Proto-Bantu are not equally distributed across the Bantu area. They are typically found in zone A, and to a lesser degree in (part of) zones B to D, resulting in a relatively high degree of typological diversity in this part of the Bantu area (often referred to as ‘Forest Bantu’), as opposed to the relative uniformity observed elsewhere (‘Savanna Bantu’). Typologically, Forest Bantu can be roughly characterized as intermediate between Savanna Bantu and the languages grouped with Narrow Bantu into the Southern Bantoid branch of Benue-Congo. Kiessling (this volume) provides an introduction to the West Ring languages of the Grassfields Bantu group, the closest relative of Narrow Bantu. Departures from the predominant typological profile -
The Role of Morphology in Generative Phonology, Autosegmental Phonology and Prosodic Morphology
Chapter 20: The role of morphology in Generative Phonology, Autosegmental Phonology and Prosodic Morphology 1 Introduction The role of morphology in the rule-based phonology of the 1970’s and 1980’s, from classic GENERATIVE PHONOLOGY (Chomsky and Halle 1968) through AUTOSEGMENTAL PHONOLOGY (e.g., Goldsmith 1976) and PROSODIC MORPHOLOGY (e.g., McCarthy & Prince 1999, Steriade 1988), is that it produces the inputs on which phonology operates. Classic Generative, Autosegmental, and Prosodic Morphology approaches to phonology differ in the nature of the phonological rules and representations they posit, but converge in one key assumption: all implicitly or explicitly assume an item-based morphological approach to word formation, in which root and affix morphemes exist as lexical entries with underlying phonological representations. The morphological component of grammar selects the morphemes whose underlying phonological representations constitute the inputs on which phonological rules operate. On this view of morphology, the phonologist is assigned the task of identifying a set of general rules for a given language that operate correctly on the inputs provided by the morphology of that language to produce grammatical outputs. This assignment is challenging for a variety of reasons, sketched below; as a group, these reasons helped prompt the evolution from classic Generative Phonology to its Autosegmental and Prosodic descendants, and have since led to even more dramatic modifications in the way that morphology and phonology interact (see Chapter XXX). First, not all phonological rules apply uniformly across all morphological contexts. For example, Turkish palatal vowel harmony requires suffix vowels to agree with the preceding stem vowels (paşa ‘pasha’, paşa-lar ‘pasha-PL’; meze ‘appetizer’, meze-ler ‘appetizer-PL’) but does not apply within roots (elma ‘apple’, anne ‘mother’).