Metrical Analysis of the Speech of Children with Suspected Developmental Apraxia of Speech
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Meter of Classical Arabic Poetry
Pegs, Cords, and Ghuls: Meter of Classical Arabic Poetry Hazel Scott Haverford College Department of Linguistics, Swarthmore College Fall 2009 There are many reasons to read poetry, filled with heroics and folly, sweeping metaphors and engaging rhymes. It can reveal much about a shared cultural history and the depths of the human soul; for linguists, it also provides insights into the nature of language itself. As a particular subset of a language, poetry is one case study for understanding the use of a language and the underlying rules that govern it. This paper explores the metrical system of classical Arabic poetry and its theoretical representations. The prevailing classification is from the 8th century C.E., based on the work of the scholar al-Khaliil, and I evaluate modern attempts to situate the meters within a more universal theory. I analyze the meter of two early Arabic poems, and observe the descriptive accuracy of al-Khaliil’s system, and then provide an analysis of the major alternative accounts. By incorporating linguistic concepts such as binarity and prosodic constraints, the newer models improve on the general accessibility of their theories with greater explanatory potential. The use of this analysis to identify and account for the four most commonly used meters, for example, highlights the significance of these models over al-Khaliil’s basic enumerations. The study is situated within a discussion of cultural history and the modern application of these meters, and a reflection on the oral nature of these poems. The opportunities created for easier cross-linguistic comparisons are crucial for a broader understanding of poetry, enhanced by Arabic’s complex levels of metrical patterns, and with conclusions that can inform wider linguistic study.* Introduction Classical Arabic poetry is traditionally characterized by its use of one of the sixteen * I would like to thank my advisor, Professor K. -
Phonological Theories Autosegmental/Metrical Phonology
Phonological Theories Autosegmental/Metrical Phonology Session 6 Phonological Theories Non-linear stress allocation Metrical phonology was an approach to word, phrase and sentence-stress definition which (a) defined stress as a syllabic property, not a vowel-inherent feature, and allowed a more flexible treatment of stress patterns in i) different languages, ii) different phrase-prosodic contexts. The prominence relations between syllables are defined by a (binary branching) tree, where the two branches from a node are labelled as dominant (s = strong) and recessive (w = weak) in their relation to each other. Four (quasi-independent) choices (are assumed to) determine the stress patterns that (appear to) exist in natural languages: 1 Right-dominant-foot vs. left-dominant-foot languages 2 Bounded vs. unbounded stress 3 Left-to-right vs. right-to-left word-stress assignment 4 Quantity-sensitive vs. quantity-insensitive languages Phonological Theories Right-dominant vs. left-dominant Languages differ in the tendency for the feet to have the strong syllable on the right or the left: Fr. sympho"nie fantas"tique Engl. "Buckingham "Palace F F F F s s s w w s w w s s w w s w Phonological Theories Bounded vs. unbounded stress (1) “Bounded” (vs. “unbounded”) is a concept that applies to the number of subordinate units that can be dominated by a higher node In metrical phonology it applies usually to the number of syllables that can be dominated by a Foot node (bounded = 2; one strong, one weak syllable to the left or the right; unbounded = no limit). This implies that bounded-stress languages have binary feet. -
Exceptional Stress and Reduced Vowels in Munster Irish Anton Kukhto
Exceptional stress and reduced vowels in Munster Irish Anton Kukhto Massachusetts Institute of Technology [email protected] ABSTRACT 1.2. Exceptions to the basic pattern This paper focuses on reduced vowels in one of the Munster dialects of Modern Irish, Gaeilge Chorca There exist, however, numerous exceptions to this Dhuibhne. In this dialect, lexical stress depends on rule. Some are caused by the morphological structure syllable weight: heavy syllables (i.e. syllables that of the word. Thus, some verbal inflection morphemes contain phonologically long vowels) attract stress; if exceptionally attract lexical stress, e.g. fógróidh (sé) [foːgǝˈroːgj] ‘(he) will announce’, while others fail to there are none, stress is initial. There exist exceptions, j j one of them being peninitial stress in words with no do so contrary, e.g. molaimíd [ˈmoləm iːd ] ‘we heavy syllables and the string /ax/ in the second praise’; for more details on such cases, see [21]. Other syllable. Instead of deriving this pattern from the exceptions are lexical in the sense that the stress is properties of /x/ in combination with /a/ as has been unpredictable and does not obey the general laws done in much previous work, the paper argues for the outlined above. These are often found to exhibit presence of a phonologically reduced vowel in the anomalous behaviour in other Irish dialects as well, first syllable. The paper argues that such vowels are not only in the South, cf. tobac [tǝˈbak] ‘tobacco’ or phonetically and phonologically different from bricfeasta [brʲikˈfʲastǝ] ‘breakfast’. underlying full vowels that underwent a post-lexical Another class of exceptions seems to stem from process of vowel reduction. -
Nigel Fabb and Morris Halle (2008), Meter in Poetry
Nigel Fabb and Morris Halle (2008), Meter in Poetry Paul Kiparsky Stanford University [email protected] Linguistics Department, Stanford University, CA. 94305-2150 July 19, 2009 Review (4872 words) The publication of this joint book by the founder of generative metrics and a distinguished literary linguist is a major event.1 F&H take a fresh look at much familiar material, and introduce an eye-opening collection of metrical systems from world literature into the theoretical discourse. The complex analyses are clearly presented, and illustrated with detailed derivations. A guest chapter by Carlos Piera offers an insightful survey of Southern Romance metrics. Like almost all versions of generative metrics, F&H adopt the three-way distinction between what Jakobson called VERSE DESIGN, VERSE INSTANCE, and DELIVERY INSTANCE.2 F&H’s the- ory maps abstract grid patterns onto the linguistically determined properties of texts. In that sense, it is a kind of template-matching theory. The mapping imposes constraints on the distribution of texts, which define their metrical form. Recitation may or may not reflect meter, according to conventional stylized norms, but the meter of a text itself is invariant, however it is pronounced or sung. Where F&H differ from everyone else is in denying the centrality of rhythm in meter, and char- acterizing the abstract templates and their relationship to the text by a combination of constraints and processes modeled on Halle/Idsardi-style metrical phonology. F&H say that lineation and length restrictions are the primary property of verse, and rhythm is epiphenomenal, “a property of the way a sequence of words is read or performed” (p. -
Chapter 1 Theoretical Issues
Chapter 1 Theoretical issues —… no language has a rule stressing the penultimate syllable unless it begins with a voiced consonant, in which case one stresses the antepenultimate syllable“ (Hyman 1985: 96) —(Karo) stress can be predicted by the onset of the last syllable: if it is a voiced stop consonant, then the stress shifts one syllable to the left“ (Gabas 1999: 39) 1.1 Syllable weight The notion of syllable weight is pervasive in phonology. Everywhere we look there are data that make reference to it. The idea behind syllable weight is that depending on their structure, syllables are treated in a different way; thus if a syllable contains a long vowel or - in some languages - a short vowel followed by a coda consonant, then it is heavier than one including a short vowel, i.e. VV, VC > V. The effects of this distinction are most prominently seen in stress, where in many languages heavy syllables attract stress more than light ones. Importantly, VC is heavy in some languages, e.g. Hopi, but light in others, e.g. Lenakel (see below). In Hopi (Gussenhoven and Jacobs 2005: 145), the first syllable is stressed if it is heavy (C)VV or (C)VC [(1a)], but if it is (C)V light, then the second gets stress [(1b)]1. (1) Hopi: VV/VC=heavy; V=light a. q1q .t1.som.pi ‘headbands’ soÂ9.ja ‘planting stick’ b. q1.t1. som.pi ‘headband’ ko.jo. Mo ‘turkey’ 1 In this chapter, unless stated otherwise, the acute accent marks primary stress, the grave accent means secondary stress, and underlining denotes the reduplicated portion. -
Audible Punctuation Performative Pause In
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-25 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. -
Comparing PENTA to Autosegmental-Metrical Phonology
Comparing PENTA to Autosegmental-Metrical Phonology Janet B. Pierrehumbert University of Oxford Feb 16, 2017 1 Introduction In this volume, Xu, Prom-on and Liu provide an overview of the recent work on the PENTA (parallel encoding and target approximation) model of prosody. This is a third-generation model of prosody and intonation. In characterizing the model this way, I am taking classic works based on audi- tory transcriptions, such as Bolinger (1958); Trager & Smith (1951); Crystal (1969), as first-generation models, and the autosegmental-metrical models (AM models) launched in the 1970’s and 1980’s as second-generation models. Second-generation models benefited enormously from the rise of computer workstations with specialized software for speech processing, which enabled researchers to examine thousands of f0 contours and to create experimental stimuli in which melodic characteristics of speech were varied in a controlled manner. However, the developers of AM models did not yet have the in- ference and optimization methods that have played such a central role in the development of PENTA. Generative AM algorithms, such as those laid out in Anderson et al. (1984); Beckman & Pierrehumbert (1986), were very seat-of-the pants efforts, compared to the multi-parameter trajectories that are achieved with PENTA. So, we can ask whether PENTA has superseded the AM approach? To what extent has it built on insights of the earlier ap- proach? What aspects of the AM research program remain even now topics for future research? A central issue in addressing these questions is the comparison between prosody and word phonology. AM theory, a development within generative linguistics, had as one of its goals a unified formalism for describing seg- mental, rhythmic, and melodic aspects of speech at both the lexical and the phrasal levels. -
The Learnability of Metrical Phonology
The Learnability of Metrical Phonology Published by LOT phone: +31 30 253 6006 Janskerkhof 13 fax: +31 30 253 6406 3512 BL Utrecht e-mail: [email protected] The Netherlands http://wwwlot.let.uu.nl/ Cover illustration by Diana Apoussidou ISBN 978-90-78328-18-6 NUR 632 Copyright © 2007: Diana Apoussidou. All rights reserved. THE LEARNABILITY OF METRICAL PHONOLOGY ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof.mr. P.F. van der Heijden ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op dinsdag 9 januari 2007, te 14.00 uur door Diana Apoussidou geboren te Mönchengladbach, Duitsland Promotiecommissie Promotor: prof. dr. P.P.G. Boersma Overige commissieleden: prof. dr. H.M.G.M. Jacobs prof. dr. R.W.J. Kager dr. W. Kehrein dr. N.S.H. Smith prof. dr. P. Smolensky Faculteit der Geesteswetenschappen Acknowledgements I consider myself very lucky to have had the support when writing this thesis, whether directly or indirectly, from the following people: Essential to starting and finishing this work is Paul Boersma. I thank him for his support as much as for challenging me, and for enabling me to push the limits. I thank my reading committee Haike Jacobs, René Kager, Wolfgang Kehrein, Norval Smith, and Paul Smolensky for their valuable comments; especially Wolfgang and Norval for enduring tedious questions about phonology. My paranymphs Maren Pannemann and Petra Jongmans never failed in supporting me; they prevented me from going nuts in quite some moments of panic. -
Syllable and Segment in Latin 1
OUP CORRECTED PROOF – FINAL, 9/2/2015, SPi Syllable and Segment in Latin RANJAN SEN Preview - Copyrighted Material 1 OUP CORRECTED PROOF – FINAL, 9/2/2015, SPi 3 Great Clarendon Street, Oxford, ox2 6dp, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries # Ranjan Sen 2015 The moral rights of the author have been asserted First Edition published in 2015 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2014943829 ISBN 978–0–19–966018–6 Printed and bound by CPI Group (UK) Ltd, Croydon, cr04yy Links to third party websites are provided by Oxford in good faith and for information only. -
Speech Errors and Phonological Patterns: Insights from Psycholinguistic and Linguistic Theory
Speech errors and phonological patterns: Insights from psycholinguistic and linguistic theory John Alderete Simon Fraser University ABSTRACT. In large collections of speech errors, phonological patterns emerge. Speech errors are shaped by phonotactic constraints, markedness, frequency, and phonological representations of prosodic and segmental structure. While insights from both linguistic theory and psycholinguistic models have been brought to bear on these facts, research on the phonological patterns of speech errors rarely attempts to compare analyses from these different perspectives, much less integrate them in a coherent system. This article investigates the phonological patterns in the SFU Speech Error Database (SFUSED) with these goals in mind. In particular, it examines the impact of language particular phonotactics on speech errors and the role of linguistic representations for syllables and tone. The empirical findings support a model that includes both production processes impacted by frequency and explicit representations of tone from phonological theory. Keywords: speech errors, language production, methodology, phonotactics, tone, English, Cantonese 1. Introduction The scientific study of speech errors is chock-full of facts of interest to phonologists. That is, when examining sufficiently large collections of speech errors, certain phonological generalizations emerge. For example, there is the syllable position constraint, according to which sounds slip into the same syllabic positions as their source words (Boomer and Laver 1968; Fromkin 1971), as leading list for reading list. Sound errors also exhibit the phonological similarity effect (Cutler 1980; Dell and Reich 1981), in that intended and error sounds tend to be phonologically similar. Another pattern is the repeated phoneme effect (Dell 1984; MacKay 1970): spoonerisms like heft lemisphere (from left hemisphere) illustrate this tendency for sound errors to share a phonological context (e.g., _ɛ) in both the intended and source words. -
The Tune Drives the Text - Competing Information Channels of Speech Shape Phonological Systems
The tune drives the text - Competing information channels of speech shape phonological systems Cite as: Roettger, Timo B. & Grice, Martine (2019). The tune drives the text - Competing information channels of speech shape phonological systems. Language Dynamics and Change, 9(2), 265–298. DOI: 10.1163/22105832-00902006 Abstract In recent years there has been increasing recognition of the vital role of intonation in speech communication. While contemporary models represent intonation – the tune – and the text that bears it on separate autonomous tiers, this paper distils previously unconnected findings across diverse languages that point to important interactions between these two tiers. These interactions often involve vowels, which, given their rich harmonic structure, lend themselves particularly well to the transmission of pitch. Existing vowels can be lengthened, new vowels can be inserted and loss of their voicing can be blocked. The negotiation between tune and text ensures that pragmatic information is accurately transmitted and possibly plays a role in the typology of phonological systems. Keywords: Intonation, epenthesis, devoicing, lengthening, phonological typology Acknowledgment Funding from the German Research Foundation (SFB 1252 Prominence in Language) is gratefully acknowledged. We would like to thank Aviad Albert, James German, Márton Sóskuthy, and Andy Wedel for their comments on earlier drafts of this manuscript. We would like to thank the Departments of Linguistics at the University of Cologne, the Goethe University in Frankfurt, Northwestern University in Evanston, the Institute of Phonetics and Speech Processing at the University of Munich, and the audience of XLanS in Lyon for their valuable input on this project. Finally, we would like to express our gratitude to three anonymous reviewers and the editor Jeff Good for their comments during the review process. -
Book 48.4.Indb
LANGUAGEP. ANDPrieto, SPEECH, M. D’Imperio, 2005, 48 and (4), B. 359 Gili –396Fivela 359 Pitch Accent Alignment in Romance: Primary and Secondary Associations with Metrical Structure Pilar Prieto1, Mariapaola D’Imperio2, Barbara Gili Fivela3 1 Institució Catalana de la Recerca i Estudis Avançats (ICREA) and Universitat Autònoma de Barcelona (UAB), Spain 2 Laboratoire Parole et Langage, UMR 6057 CNRS, Aix-en Provence, France 3 Universitá degli Studi di Lecce, Italy Key words Abstract The article describes the contrastive possibilities of alignment of high accents phonological representation in three Romance varieties, namely, Central Catalan, Neapolitan Italian, of pitch accents and Pisa Italian. The Romance languages analyzed in this article provide crucial evidence that small differences in alignment in rising accents should be encoded phonologically. To account for such facts within the AM model, the primary and article develops the notion of “phonological anchoring” as an extension of secondary the concept of secondary association originally proposed by Pierrehumbert association of tones and Beckman (1988), and later adopted by Grice (1995), Grice, Ladd, and Arvaniti (2000), and others to explain the behavior of edge tones. The Romance data represent evidence that not only peripheral edge tones seek tonal alignment secondary associations. We claim that the phonological representation of Acknowledgments: The article develops some materials and ideas presented by the first author at the Workshop on Intonation in Language Varieties organized by P. Warren and P. Vermillion as a Satellite Meeting to the 15th International Congress of Phonetic Sciences (Barcelona, August 2003) and at the 2004 ESF Workshop on Typology of Tone and Intonation (Cascais, April 2004).