DOCSLIB.ORG

Finite State Processing of Tone Systems

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FINITE STATE PROCESSING OF TONE SYSTEMS Dafydd Gibbon (U Bielefeld) ABSTRACT as floating tones and compound tones. Floating tones are not associated with syllables, but are po- It is suggested in this paper that two-level stulated to explain appparent irregularities in pho- morphology theory (Kay, Koskenniemi) can be ex- netic patterning in terms of regular tone sandhi tended to include morphological tone. This exten- properties. sion treats phonological features as I/O tapes for Finite State Transducers in a parallel sequential The tone sandhi rules define how tones affect incrementation (PSI) architecture; phonological their neighbours. The example to be treated here is processes (e.g. assimilation) are seen as variants of a kind of tonal assimilation known as tonal sprea- an elementary unification operation over feature ding in which low tones are phonetically raised tapes (linear unification phonology, LUP). The following a high tone or, more frequently, high phenomena analysed are tone terracing with tones are lowered after a low tone, either to the tone-spreading (horizontal assimilation), down- level of the low tone (total downstep) or to a mid step, upstep, downdrift, upsweep in two West Afri- level (partial downstep). The newly defined tone is can languages, Tem (Togo) and Baule (C6te then the reference point for following tones. d'Ivoire). It is shown that an FST acccount leads to more insightful definitions of the basic pheno- The latter kind of assimilation produces a cha- mena than other approaches (e.g. phonological racteristic perceptual, and experimentally measu- rules or metrical systems). rable, effect known as tone terracing. Tone se- quences are realized at a fairly high level at the beginning of a sequence, and at certain well- 1. Descriptive context defined points the whole pitch register appears "to be downstepped to a new level. The process may The topic of this paper is tone sandhi in two be iterated several times. It is often represented in West African tone languages and suitable formal the literature in the following way (partial down- models for it. The languages investigated are Tern step); it can be seen that a later high tone may be (Gur/Voltaic family, Togo) and Baule (Akan fami- as high as or lower than an earlier low tone: ly, C6te d'Ivoire). Tone languages of other types, in particular the Sino-Tibetan languages, will not be discussed. The specific concern of this paper is with the way in which certain quite well-known morpho- phonological (lexical) tone patterns are realized in hhhllhhllhh sequence in terms of phonetic pitch patterns. There are three interacting factors involved: i. tone-text In particular, it will be seen that the two ter- association rules; ii. tone-sandhi rules; iii. phone- raced tone languages, Tem and Baule, involve si- tic interpretation rules. milar processes in detail and have similar basic FST architectures, but differ systematically at cer- Tone-text association rules are concerned with tain well-defined points involving sandhi generali- the association of tones with syllables (primary ty, and scope of sandhi context. associations and a form of tone spreading) as well 291 Detailed phonetic interpretation involves pitch mappings between abstract and concrete phonolo- patterns between neighbouring tones of the same gical and phonetic levels of representation. FST type within terraces. These are processses of systems are conceptually bidirectional; they may downdrift (neighbouring tones fall) or upsweep easily be processed in either direction with the (neighbouring tones, usually high tones, rise). same finite state mechanism; the problem of the They will not be dealt with here. recoverability of underlying structure (short of am- biguity through genuine neutralization) loses its importance. 2. Theoretical context The idea of formulating prosodic patterns in The view is developing, based on work by Kay English intonation in FS terms was originated and and Kaplan, Koskenniemi, Church, and others, developed by Pierrehumbert (1980), though FS that in phonology it is sufficient to use finite state intonation models had been developed much ear- transducers which are not allowed to apply to their lier by 't Hart and others for DutcL intonation. own output. Kay and Kaplan have shown that it is These existing FS intonation descriptions are possible to reduce conventional, so-called straightforward finite state automata (FSAs; for "context-sensitive" phonological rules to finite- Dutch, probabilistic FSAs). The problem of map- state relations, and to apply the FSTs thus pro- ping such patterns at one level on to patterns at duced in sequential order (Kay 1986). another, the traditional problem in descriptive lin- guistics as well as in computational parsing and Koskenniemi developed a somewhat different translation, has not been formulated in finite state concept for Finnish morphology, in which the terms for this domain. This mapping question is a FSTs operate as parallel filters over the input: they different one from the question of recognition, and must all agree in their output. A careful analysis the finite state devices required for an answer to also shows that Church's allophonic parser, in his the question are different. Additionally, the tone actual implementation using matrix operations to language application constitutes a different domain. simulate bottom up chart parsing, can also be seen as a system of parallel finite state filters. The PSI The input and output languages for FSTs are (Parallel Sequential Incrementation) system of pro- both regular sets (Type 3 languages). FSTs have sodic analysis being developed by myself in the various interesting properties which are in part DFG Forschergruppe "Koh~renz" in Bielefeid in- similar to those of FSAs. The reversibility property corporates a similar concept of FSTs used as a pa- shown in the simulations is one of the most inter- rallel filter bank (Gibbon & al. 1986). esting. Any FST which is deterministic in one di- rection is not necessarily deterministic in the other, The context within descriptive phonology is as the neutralization facts in Tern and Baule show. that of theories which postulate interreelated but Furthermore, it is not true for FSTs, as it is for structurally autonomous parallel levels of organi- FSAs, that for any non--deterministic FST there is zation in phonology. The four major classical di- a deterministic one which is weakly equivalent re- rections in this area are traditional intonation ana- lative to the input language. This only holds if the lysis (surveyed and developed in Gibbon 1976), paired input and output symbols are interpreted Firthian "prosodic phonology", Pike's simul- as compound (relational) input symbols, and the taneous hierarchies, and the non-linear (autoseg- input and output tapes are seen as a single tape of mental and metrical) phonologies of the last thir- pairs. This is an abstraction which formally redu- teen years. ces FSTs to FSAs. Kay has suggested this perspec- tive on FSTs as an explication for relations be- Parallel FST systems are used in order to ex- tween linguistic levels, where FSTs define relations plicate both traditional phonological rules, so long between linguistic levels of representation in an as they do not apply to their own output, and also, essentially declarative fashion, though with a pro- with appropriate synchronization measures, the cedural interpretation. For a slightly different FST parallel tiers which figure in autosegmental phono- definition cf. Aho & Ullman (1972). In current logy, the mappings between these tiers, and the computational theories of language (FUG, GPSG, 292 LFG), the standard treatment for concord restric- Reverse: tion, to which phonological assimilation and neu- tralization may be compared, is in terms of a class INs (LC LC LC LC) of operations related to unification. The situation OUTs t (L L L L) in autosegmental phonology is simpler than in syn- IN: (HC H H) tax, in that each feature or tier can be modelled by OUTt 1 (H H H) 2 (H H L) a finite state device. The elementary unification operator required is, correspondingly, restricted to INJ (LC !H H) OUT1 % (L H H) non-recursive, adjacent feature specification on a 2 (L H L) given tier, as in the present analysis. In a INs (LC!HHLC) non--parallel architecture, the operation would be OUTs 1 (LHHeL) 2 (LHLL) embedded in a more complex, perhaps context-free-style, context. IN= (LC !H LC} OUTs t (L H ~L) INs (LC LC LC !H) OUT: 1 (L L L H) 3.The Tern and Baule data IN= (LC fH H !H) OUT: 1 (L H L H) The essential tonal properties of Tern are: IN~ (LC ~H H LC !H) downstep, downdrift, phonetically constant OUT: t (L H L L H) (non-terraced) low tone, high tone spreading over IN= (LC !H H !H H) a following low; only terracing and sandhi are OUT: 1 (LHLHH} dealt with here. The Tern data and the inter-level 2 (LHLHL) relations are taken from Tchagbale (1984). The INI (LC 'H H LC !H H LC) following shows a simulation using a bidirectional OUT - l (L H L L H H =L) 2 (L H L L H L L) FST interpreter, with runs in each direction. INs (LC !H H !H H H) 0UT: 1 (LHLHHH) Forward: 2 (LHLHHL) INi (L L L L) [NI (HC H !H H LC) OUT: 1 (LC LC LC LC) OUT: 1 (H L H H ~L) 2 (H L H L L} INs (H H H} OUTt 1 (HC H H) INi (L H H) OUTI 1 (LC !H H) IN: (L H L L) OUTs I (LC !H H LC} The essential tonal properties of Baule are: INt (L H ~L} partial or total downstep (style-determined), up- 0UT2 1 (LC !H LC) step, upsweep, downdrift, tone spreading of both IN= (L L L H} low and high over the first tone of an appositely OUT= X (LC LC LC !H) specified sequence, compound tone.
Recommended publications
  • Prosody and Intonation in Non-Bantu Niger-Congo Languages: an Annotated Bibliography

    Prosody and Intonation in Non-Bantu Niger-Congo Languages: an Annotated Bibliography

    Electronic Journal of Africana Bibliography Volume 11 Prosody and Intonation in Non- Bantu Niger-Congo Languages: An Annotated Article 1 Bibliography 2009 Prosody and Intonation in Non-Bantu Niger-Congo Languages: An Annotated Bibliography Christopher R. Green Indiana University Follow this and additional works at: https://ir.uiowa.edu/ejab Part of the African History Commons, and the African Languages and Societies Commons Recommended Citation Green, Christopher R. (2009) "Prosody and Intonation in Non-Bantu Niger-Congo Languages: An Annotated Bibliography," Electronic Journal of Africana Bibliography: Vol. 11 , Article 1. https://doi.org/10.17077/1092-9576.1010 This Article is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Electronic Journal of Africana Bibliography by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. Volume 11 (2009) Prosody and Intonation in Non-Bantu Niger-Congo Languages: An Annotated Bibliography Christopher R. Green, Indiana University Table of Contents Table of Contents 1 Introduction 2 Atlantic – Ijoid 4 Volta – Congo North 6 Kwa 15 Kru 19 Dogon 20 Benue – Congo Cross River 21 Defoid 23 Edoid 25 Igboid 27 Jukunoid 28 Mande 28 Reference Materials 33 Author Index 40 Prosody and Intonation in Non-Bantu Niger-Congo Languages Introduction Most linguists are well aware of the fact that data pertaining to languages spoken in Africa are often less readily available than information on languages spoken in Europe and some parts of Asia. This simple fact is one of the first and largest challenges facing Africanist linguists in their pursuit of preliminary data and references on which to base their research.
  • Downstep and Recursive Phonological Phrases in Bàsàá (Bantu A43) Fatima Hamlaoui ZAS, Berlin; University of Toronto Emmanuel-Moselly Makasso ZAS, Berlin

    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.
  • Part 1: Introduction to The

    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.
  • Intonation and Discourse Structure in English: Phonological and Phonetic Markers of Local and Global Discourse Structure Dissert

    Intonation and Discourse Structure in English: Phonological and Phonetic Markers of Local and Global Discourse Structure Dissert

    INTONATION AND DISCOURSE STRUCTURE IN ENGLISH: PHONOLOGICAL AND PHONETIC MARKERS OF LOCAL AND GLOBAL DISCOURSE STRUCTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca Herman, B.A. * * * * * The Ohio State University 1998 Dissertation Committee: Approved by Professor Mary Beckman, Adviser Professor Keith Johnson Adviser Professor Craige Roberts Department of Linguistics Copyright by Rebecca Herman 1998 ABSTRACT This dissertation examines the relationship between sound structure and discourse structure in English. In English, phrases are marked by edge tones which have discourse functions. A high edge tone indicates that the phrase is to be interpreted with respect to a subsequent phrase, while a low edge tone means that the phrase does not form an interpretive unit with the subsequent phrase. How the tones in a phrase marked by a low edge tone are implemented phonetically conveys how complete a sub-topic is. Thus the choice of edge tone conveys local discourse relationships between pairs of phrases while the phonetic implementation conveys global discourse relationships– the grouping of sets of phrases into topics and sub-topics. These hypotheses about the discourse functions of edge tone categories and phonetic implementation were tested experimentally using pairs of discourses with at least two sub-topics in which the sub-topics occurred in different orders. The expectation is that the phrase at the end of a sub-topic will have the same choice of edge tones in both orders of occurrence, but that the tones in the phrase will be implemented differently in the two cases.
  • Ein Rhythmisch-Prosodisches Modell Lyrischen Sprechstils

    Ein Rhythmisch-Prosodisches Modell Lyrischen Sprechstils

    Ein rhythmisch-prosodisches Modell lyrischen Sprechstils Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Jörg Bröggelwirth aus Paderborn in Westfalen Bonn, 2007 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: PD Dr. Bernhard Schröder (Vorsitzender) Prof. Dr. Wolfgang Hess (Betreuer und Gutachter) Prof. Dr. Winfried Lenders (Gutachter) Prof. Dr. Jürgen Esser (Weiteres prüfungsberechtigtes Mitglied) Tag der mündlichen Prüfung: 8. 6. 2007 Diese Dissertation ist auf dem Hochschulschriftenserver der ULB Bonn http://hss.ulb.uni-bonn.de/diss_online elektronisch publiziert „freilich ist die Poesie nicht für das Auge bestimmt“ (Johann Wolfgang von Goethe) Ich möchte mich bei den folgenden Personen bedanken: Valeska Maus, Christian Aretz, Annegret Steudner, Barbara Samlowski und Arne Bachmann für ihre umfangreiche Arbeit am Lyrik-Korpus, den Sprechern und Hörern für ihre Geduld und Anstrengung, Dr. Rüdiger von Tiedemann für seine Hilfe bei der Textauswahl, Prof. Dr. Wolfgang Hess für die Betreuung, Dr. Petra Wagner für die stets aufschlussreichen Diskussionen und Anregungen und meinen Eltern Elisabeth und Erich für ihren Rückhalt! Inhaltsverzeichnis 1 Einleitung ………………………………………………………………………………..... 1 2 Zum Sprechrhythmus …………………………………………………………………....... 4 2.1 Isochronie ……………………………………………………………………...... 4 2.2 Akustische Korrelate des Sprechrhythmus
  • Morphological Sources of Phonological Length

    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.
  • How to Study a Tone Language, with Exemplification from Oku (Grassfields Bantu, Cameroon)

    How to Study a Tone Language, with Exemplification from Oku (Grassfields Bantu, Cameroon)

    UC Berkeley Phonology Lab Annual Report (2010) How To Study a Tone Language, with exemplification from Oku (Grassfields Bantu, Cameroon) Larry M. Hyman University of California, Berkeley DRAFT • August 2010 • Comments Welcome 1. Introduction On numerous occasions I have been asked, “How does one study a tone language?” Or: “How can I tell if my language is tonal?” Even seasoned field researchers, upon confronting their first tone system, have asked me: “How do I figure out the number of tones I have?” When it comes to tone, colleagues and students alike often forget everything they’ve learned about discovering the phonology of a language and assume that tone is somehow different, that it requires different techniques or expertise. Some of this may derive from an incomplete understanding of what it means to be a tone system. Prior knowledge of possible tonal inventories, tone rules, and tone- grammar interfaces would definitely be helpful to a field researcher who has to decipher a tone system. However, despite such recurrent encounters, general works on tone seem not to answer these questions—specifically, they rarely tell you how to start and how to discover. I sometimes respond to the last question, “How do I figure out the number of tones I have?”, by asking in return, “Well, how would you figure out the number of vowels you have?” Hopefully the answer would be something like: “I would get a word list, starting with nouns, listen carefully, transcribe as much detail as I can, and then organize the materials to see if I have been consistent.” (I will put off until §5 commentary concerning the use of speech software as an aid in linguistic discovery.) Although I don’t think the elicitation techniques that one applies in studying segmental vs.
  • Languages of New York State Is Designed As a Resource for All Education Professionals, but with Particular Consideration to Those Who Work with Bilingual1 Students

    Languages of New York State Is Designed As a Resource for All Education Professionals, but with Particular Consideration to Those Who Work with Bilingual1 Students

    TTHE LLANGUAGES OF NNEW YYORK SSTATE:: A CUNY-NYSIEB GUIDE FOR EDUCATORS LUISANGELYN MOLINA, GRADE 9 ALEXANDER FFUNK This guide was developed by CUNY-NYSIEB, a collaborative project of the Research Institute for the Study of Language in Urban Society (RISLUS) and the Ph.D. Program in Urban Education at the Graduate Center, The City University of New York, and funded by the New York State Education Department. The guide was written under the direction of CUNY-NYSIEB's Project Director, Nelson Flores, and the Principal Investigators of the project: Ricardo Otheguy, Ofelia García and Kate Menken. For more information about CUNY-NYSIEB, visit www.cuny-nysieb.org. Published in 2012 by CUNY-NYSIEB, The Graduate Center, The City University of New York, 365 Fifth Avenue, NY, NY 10016. [email protected]. ABOUT THE AUTHOR Alexander Funk has a Bachelor of Arts in music and English from Yale University, and is a doctoral student in linguistics at the CUNY Graduate Center, where his theoretical research focuses on the semantics and syntax of a phenomenon known as ‘non-intersective modification.’ He has taught for several years in the Department of English at Hunter College and the Department of Linguistics and Communications Disorders at Queens College, and has served on the research staff for the Long-Term English Language Learner Project headed by Kate Menken, as well as on the development team for CUNY’s nascent Institute for Language Education in Transcultural Context. Prior to his graduate studies, Mr. Funk worked for nearly a decade in education: as an ESL instructor and teacher trainer in New York City, and as a gym, math and English teacher in Barcelona.
  • Contour Tones and Prosodic Structure in Medʉmba

    Contour Tones and Prosodic Structure in Medʉmba

    Contour Tones and Prosodic Structure in Med0mba Kathryn H. Franich University of Chicago∗ 1 Introduction This paper investigates the phonetics and phonology of contour tones in Med0mba, a Grass- fields Bantoid language of Cameroon. Not only are contoured syllables shown to be longer in duration than level syllables of all shapes, but the distributions of phonological processes such as High Tone Anticipation (HTA) and sentence initial downdrift are sensitive to the relative positions in which contoured and level syllables appear. Evidence reveals that varia- tion in the application of HTA and downdrift can be attributed to differences in the prosodic positions in which contoured and level syllables occur. Specifically, contoured syllables are preferred in prominent positions over their level-toned counterparts both at the level of the foot and at the level of the intonational phrase. Two possible explanations are considered for the above facts. The first is a tonal promi- nence account similar to de Lacy (2002) whereby contour tones associate to strong positions due to the inherent prominence associated with their tonal properties. The second is a weight-based account whereby contour tones associate to heavy syllables, which are in turn attracted to prominent positions. Though Med0mba does not display a general distinction in vowel length, evidence from some loanwords which can be produced with variable vowel length (and which display concomitant variation in prosodic behavior) supports a weight- based account. An analysis of prominence asymmetries between contoured (heavy) and level (light) syllables is provided within the framework of Optimality Theory (Prince & Smolensky 1993). 2 Overview of Tone and Contour Formation in Med0mba Med0mba has been analyzed as a 2-level tone system with underlying H and L tones (Voorho- eve 1971).
  • The Phonology of Tone and Intonation

    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.
  • Segmental and Non-Segmental Phonology of Kūnámá ̄

    Segmental and Non-Segmental Phonology of Kūnámá ̄

    Segmental and Non-Segmental Phonology of ūáá̄ Anteneh Getachew Damtew A Dissertation Submitted to the Department of Linguistics and Philology Presented in Fulfillment of the Requirements for the Degree Doctor of Philosophy in Documentary Linguistics and Culture Addis Ababa University Addis Ababa, Ethiopia June 2018 ADDIS ABABA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the dissertation prepared by Anteneh Getachew Damtew, entitled: Segmental and Non-Segmental Phonology of ūáá ̄ and submitted in fulfillment of the requirements for the Degree of Doctor of Philosophy (in Documentary Linguistics and Culture) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the Examining Committeeː Examinerː____________________Signature____________Date_________ (External) Examinerː____________________Signature____________Date_________ (Internal) Advisor:_____________________Signature____________Date_________ Chair of Department or Graduate Program Coordinator ABSTRACT This dissertation presents the descriptions of the segmental and non-segmental phonology of Kunama, a Nilo-Saharan dialect cluster spoken in Western Eritrea and Northern Ethiopia. It also provides an annotated multimedia corpus of the names and description of the Kunama cultural artifacts. The study uses primary data recorded from speakers of the Kunama Shukre dialect, spoken by an isolated minority group living in Tahtay Addi Yabo Woreda of Northwestern Zone of the Tigray Regional State, Ethiopia.
  • Cover Title: Dictionary of Phonetics and Phonology Author

    Cover Title: Dictionary of Phonetics and Phonology Author

    cover file:///D:/Documents%20and%20Settings/superstar/Mes%20document... Cover title: Dictionary of Phonetics and Phonology author: Trask, R. L. publisher: Taylor & Francis Routledge isbn10 | asin: print isbn13: 9780203696026 ebook isbn13: 9780203695111 language: English subject Phonetics--Dictionaries, Grammar, Comparative and general--Dictionaries.--Phonology , Gramática comparada y general--Fonología--Diccionarios, Phonetics, Phonology. publication date: 1996 lcc: P216.T73 1996eb ddc: 414/.03 subject: Phonetics--Dictionaries, Grammar, Comparative and general--Dictionaries.--Phonology , Gramática comparada y general--Fonología--Diccionarios, Phonetics, Phonology. cover Page i A Dictionary of Phonetics and Phonology Written for students of linguistics, applied linguistics and speech therapy, this dictionary covers over 2,000 terms in phonetics and phonology. In addition to providing a comprehensive yet concise guide to an enormous number of individual terms, it also includes an explanation of the most important theoretical approaches to phonology. Its usefulness as a reference tool is further enhanced by the inclusion of pronunciations, notational devices and symbols, earliest sources of terms, suggestions for further reading, and advice with regard to usage. R.L.Trask is Lecturer in Linguistics in the School of Cognitive and Computing Sciences at the University of Sussex. His previous publications include A Dictionary of Grammatical Terms in Linguistics (1993), Language Change (1994) and Language: The Basics (1995). page_i Page ii This page intentionally left blank. page_ii Page iii A Dictionary of Phonetics and Phonology R.L.Trask London and New York 1 of 246 10/04/2010 11:56 cover file:///D:/Documents%20and%20Settings/superstar/Mes%20document... page_iii Page iv First published 1996 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2005.