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Standard Croatian Pitch Accent: Fact and Fiction

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Standard Croatian Pitch Accent: Fact and Fiction STANDARD CROATIAN PITCH ACCENT: FACT AND FICTION Elenmari Pletikos Olof and Julian Bradfield University of Zagreb and University of Edinburgh [email protected], [email protected] ABSTRACT accented syllable, but not before. Conflating vowel length with tone is traditional – phonologically it Standard Croatian is a normatively described high- would be usual to view length as a segmental qual- prestige dialect, which most Croatians in public life ity, and talk about two accents. However, given the attempt to acquire, and which is taught in schools. It long tradition, and the prescriptive classification, the has four pitch accents, long/short rising/falling. We analysis here is in terms of four accents. present acoustic and perceptual analyses of data from The four tones and other long vowels are marked a wide range of speakers from different dialect back- in Croatian-published dictionaries, both monolin- grounds, showing that even for those with closely gual and bilingual, but not in usual orthography. related native dialects with four accents, the estab- They are also not marked in school texts, though lished descriptions do not match productions – for children are taught about them around age 12–13. example, rising tones do not rise, and the moraic The four-accent system is characteristic of most tonal structure does not agree. There is a wide range Štokavian dialects, covering 40–50% of Croatians, of accentuation from a tonal system with four pitch- particularly in Dalmatia and Slavonia. The simi- accents to a stress/dynamic system with one accent larly populous Kajkavian dialects include that of the wich is a short stressed. capital, Zagreb, which has a simple dynamic stress Keywords: pitch accent, tone, acoustics, Croatian, accent: as in English, the accent is marked by in- word prosody creased intensity, pitch and duration. Zagreb has also lost distinctive vowel length. The small Čaka- 1. INTRODUCTION vian dialects are traditionally described with a dif- ferent three accent system, often including an ‘acute’ ‘Croatian’ is a group of South Slavic dialects spo- [14] single syllable rising tone. ken across present-day Croatia. The wider group Because of the high prestige of the standard, there is called Serbo-croatian, Bosnian-Croatian-Serbian, is a practice of teaching newsreaders, actors, teach- etc., and language definitions are politically con- ers, etc. to speak it. Speaking the standard involves tentious. A distinctive feature of much of this dialect using the four-accent system with post-accentual continuum is the use of pitch accents, documented length. for some five centuries. However, in practice acquiring the accent system Croatian and Serbian have very similar (but not is difficult save for those who have it natively; and identical) normative standard dialects, established in the political importance of the capital region results the late 19th century, and based on a dialect of East- in a strong influence of its native (Kajkavian, dy- ern Herzegovina, which had a four-accent system, namic accent) dialect on acceptability judgements. first described by Starčević in 1812. The modern Hence ‘standard Croatian’ as it is actually spoken names, phonetic descriptions (following [5]), and and accepted varies considerably from the normative dictionary notations of the accents are: short falling prescription. This paper presents acoustic data on the (SF), high tone on initial short stressed syllable and realization of accent in speakers intending to speak low elsewhere ([dɔ́bar] dȍbar ‘good’); short rising standard Croatian. (SR), high tone on short stressed syllable and the fol- lowing syllable ([dánás] dànas ‘today’); long falling 2. PREVIOUS WORK (LF), falling tone on long stressed syllable ([dîːvan] dîvan ‘pretty’); long rising (LR), high tone on long [5] described the four pitch accents in Novi Sad stressed syllable continuing high into the following Serbian (13 speakers) thus: accented syllables are syllable ([dúːʃá] dúša ‘soul’). The high tone on the lengthened; the main difference between F and R post-accentual syllable has long been recognized as accents is in pitch, while intensity is redundant; the a key part of ‘rising’ accents. In the standard, long terms ‘falling’ and ‘rising’ do not match phonetic re- vowels can also occur (lexically) anywhere after the alization of tonal contours – both F and R accents can have a rising pitch in the stressed syllable; the 4. METHODOLOGY main cue for distinguishing F and R is the higher pitch in the post-accentual syllable of R accents; and Data is from 89 Croatian speakers, from all regions sentence intonation can influence the pitch enough and all major cities. Most were young females, re- to neutralize lexical accent differences. flecting the student population. Most had some edu- [6] analysed recordings of three pitch-accent cation in linguistics, phonetics or Croatian studies, speakers of standard Croatian (radio announcer, ac- with about one fifth from other subjects. Speak- tor and phonetician) and concluded that the main dif- ers self-evaluated their dialect background using the ference from [5]’s description was that the contour in generally known division of Što-, Kaj- and Čaka- the accented syllable of F accents is mostly declin- vian. After adjusting for their main residence, six ing, and in R accents is mostly flat, and that the pitch speakers were mainly Čakavian, with the rest almost of the postaccentual syllable in R accents is the same equally divided between Što- and Kajkavian. as in the accented syllables rather than higher. The task was to read, in ‘standard Croatian’, sen- [11] analysed productions by 3 Zagreb Croatian tences with exemplars of the four standard accents, and 3 Belgrade Serbian speakers. Belgrade speakers with and without post-accentual length. The 41 test distinguished duration and tone giving four lexical words were common, disyllabic with initial accent, pitch accents, while Zagreb speakers did not have and mostly with an open accented syllable. They tone, and distinguished length only for some speak- were balanced in the accented vowel (/a e i o u/; vo- ers when in narrow focus. For Belgrade speakers calic /r/ was not included). They were also balanced late tonal alignment is a cue for R accents, and thus for onset consonant manners of articulation. They the lexical difference, while for Zagreb speakers it were presented in orthography, underlined in a frame can be a cue for pragmatic conditions and for broad thus: Reci dobar sada (say ‘dobar’ now). Speakers focus or sentence-initial focus, with early alignment were to read as if in a formal public setting such as for narrow focus and final focus. TV or radio. They were not aware that the topic was [7] conducted a similar study to ours, with a sam- accents. Sessions were recorded at 44.1kHz/16bits ple of 20 speakers. The results were consistent with with standard equipment in an acoustic studio. our results, though perhaps owing to experimental Tokens were presented (without the frame) to a conditions all vowels were somewhat longer. There panel of four expert accentologists for perceptual was no dialectal analysis of the speakers. evaluation, who classified them as one of the four Previous analyses had small sample sizes, and ei- standard accents, or as ‘other’ with a description. ther chose one dialect, or did not distinguish speakers After classifying tokens, evaluators assigned each within ‘standard’. [4] argues that the Croatian ‘stan- speaker to one of the three dialects, or to unclear, dard’ is ‘unattainable’ by most Kajkavian speakers, with a Likert scale from clearly dialectal to stan- and studies (by his own perceptual evaluation of dard. This classification had generally good agree- 16 TV interviews) the accommodations (e.g. stress ment with the information from self-assessment and shift) made by Zagreb speakers ‘speaking standard’. biography. Standard Croatian accents are taught in elemen- Acoustic analysis was done in Praat [1]. The ac- tary schools at age 12–13 [2], which is too late for centual and post-accentual nuclei were measured for critical period acquisition. Children with (regional duration, and for intensity and F0 at each tenth of or parental) Štokavian exposure are better at produc- the vowel duration. F0 data was normalized relative tion, but not at perception and recognition [9]. to each token’s baseline and expressed in semitones. The data and analyses presented here were origi- Statistical analysis (with SPSS) is mostly one-way nally undertaken in the first author’s doctoral disser- ANOVA to test for differences between groups of tation [8], but not published. We have reviewed and data. revised the analyses for publication here. 3. RESEARCH QUESTION 5. RESULTS The original hypothesis for which the data was gath- For clarity, we use the terms ‘LR-tokens, R-tokens, ered was to test the claim of [10] that modern Stan- rising-tokens’ etc. to mean ‘tokens of words that are dard Croatian has only three accents. Following ini- normatively LR, have a rising accent’, etc. ‘Tonic’ tial results, the question was broadened to investigate means ‘normatively accented syllable’, and ‘post- what is the distribution of accent systems in standard tonic’ means the following syllable. We omit here Croatian. data for and discussion of post-accentual length. 5.1. Overall perceptual analysis by evaluators Figure 1: Accent productions by speaker group Owing to the speakers who did not in fact have the Long Falling pitch accent system, the evaluators (who were listen- ing for ‘standard’ accents) heard more (121%) ‘short 0 falling’ than just the SF-tokens, as SF is similar to the dynamic stress accent: a slightly lengthened, −0:2 raised-pitch stressed syllable. Correspondingly, short rising is heavily under-represented at 39% of Pitch/octave −0:4 the number of SR-tokens, as the SR tune of two high 0 50 100 150 200 250 pitches is not found in dynamic accents.
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